Museum  and  Art  Gallery,  1903. 

Illustrated  Catalogue  of  a 
Loan  Collection  of  Portraits 

By  Sir  Joshua  Reynolds,  Thomas  Gainsborough, 
George  Romney,  John  Hoppner,  Sir  Henry 
Raeburn,  and  other  Artists. 

tVirtl   FIFTT  ILLUSTRAriONS. 

PRICE  FIVE  SHILLINGS. 

PRINTED  BY  PERCIVAL  JONES  LIMITED,  87-89,  EDMUND  STREET,  BIRMINGHAM. 


(A/^M^ (uf\^ 


City  of  Birmingham. 


Museum  and  Art  Gallery,  1903. 

Illustrated  Catalogue  of  a 
Loan  Collection  of  Portraits 

By  Sir  Joshua  Reynolds,  Thomas  Gainsborough, 
George  Romney,  John  Hoppner,  Sir  Henry 
Raeburn,  and  other  Artists. 

Compiled  by 

Whitworth  Wallis  and  Arthur  Bensley  Chamberlain. 


PRINTED  BY  PERCIVAL  JONES  LIMITED,  87-89,  EDMUND  STREET,  BIRMINGHAM. 


City  of  Birmingham 

Museum  and  Art  Gallery. 


Chairman  : 

RIGHT  HON.  WILLIAM  KENRICK,  P.C. 

Keeper : 

WHITWORTH  WALLIS,  F.S.A. 

Assistant  Keeper  : 
ARTHUR  BENSLEY  CHAMBERLAIN. 


LIST   OF  ILLUSTRATIONS. 


Henry  Frederick,  Duke  of  Cumberland  (No.  2)    -        -        -  GAINSBOROUGH. 

William  Gifford  (No.  3)  HOPPNER. 

Richard,  Earl  of  Shannon  (No.  7)  REYNOLDS. 

The  Masters  Gawler  (No.  8)  REYNOLDS. 

Miss  Ridge  (No.  9)  REYNOLDS. 

Miss  Lawrence  (No.  10)  ROMNEY. 

Mrs.  Jordan  as  Hypolita  (No.  11)  HOPPNER. 

The  Misses  Crewe  (No.  1 2)  REYNOLDS. 

Mrs.  Glyn  (No.  13)  -  ROMNEY. 

William  Lawrence  (No.  14)   -        -  ROMNEY. 

Mrs.  Payne-Gallwey  and  Child  (No.  15)  REYNOLDS. 

Dr.  Ditcher  (No.  17)  GAINSBOROUGH. 

Lady  Willoughby  de  Broke  (No.  18)   ROMNEY. 

Mrs.  Robert  Child  (No.  20)  ROMNEY. 

Viscountess  Folkestone  (No.  22)  GAINSBOROUGH. 

Miss  Croker  (No.  23)  LAWRENCE. 

Richard  Hurd,  Bishop  of  Worcester  (No.  24)  -  -  -  GAINSBOROUGH. 
James  Harrower,  with  his  Wife  and  Son  (No.  25)         -        .        -        .  RAEBURN. 

Mrs.  John  Taylor  (No.  27)  GAINSBOROUGH. 

Elizabeth  Howard,  Duchess  of  Rutland  (No.  29)  HOPPNER. 

Miss  Franks  (No.  30)  REYNOLDS. 

The  Daughters  of  Sir  T.  Frankland  (No.  32)  HOPPNER. 

L.idy  Caroline  Price  (No.  34)  REYNOLDS. 

Miss  Mary  Barnardiston  (No.  36)  REYNOLDS. 

The  Leslie  Boy  (No.  37)  RAEBURN. 

Hon.  John  and  Hon.  Henry  Cust  (No.  39)  HOPPNER. 

A  Girl  Sketching  (No.  40)  RAEBURN. 

Lady  Margaret  Fordyce  (No.  41)  GAINSBOROUGH. 

Miss  Somerville  (No.  42)  -  COTES. 

Lady  Brownlow  and  Child  (No.  43)  ROMNEY. 

Brownlow  Cust,  Lord  Brownlow  (No.  44)  ROMNEY. 

Miss  Ramus  (No.  45)  ROMNEY. 

Miss  Benedetta  Ramus  (No.  47)  ROMNEY. 

Warren  Hastings  (No.  49)  HOPPNER. 

Miss  Cunninghame-Graham  (No.  50)  RAEBURN. 

Mary  Palmer,  Marchioness  of  Thomond  (No.  51)         -        -        -  REYNOLDS. 

Edward  Augustus,  Duke  of  York  (No.  52)  REYNOLDS. 

Lady  Dover  (No.  53)   -        -  REYNOLDS. 

James  Lloyd  (No.  55)       --------  CONSTABLE. 

John  Barrow  (No.  57)       -        -        -  HOPPNER. 

Mrs.  Duff  (No.  58)  -  RAEBURN. 

Dr.  Johnson  (No.  59)  REYNOLDS. 

Baroness  Dacre  (No.  60)  REYNOLDS. 

Lord  Willoughby  de  Broke  and  Family  (No.  62)  ZOFFANY. 

Miss  Jane  Hodgson  (No.  63)  RAEBURN. 

James  Quin  (No.  64)  GAINSBOROUGH. 

The  Two  Boys  (No.  67)  RAEBURN. 

Duchess  Countess  of  Sutherland  (No.  68)     -  HOPPNER. 

Master  Crewe  as  Henry  VIII.  (No.  69)  REYNOLDS. 

Princess  Caroline,  wife  of  George  IV.  (No.  71)     -        -        -        -  LAWRENCE. 


''The  Compilers  of  this  Catalogue  beg  to  thank 
Algernon  Graves^  Esq.,  F.S.A.,  W.  Vine  Cronin,  Esq., 
T.  Humphry  Ward,  Esq.,  and  fV.  Roberts,  Esq., 
for  their  kindness  in  supplying  information  ;  and  also 
those  owners  who  have  so  generously  allowed  their 
pictures  to  be  reproduced. 


INTRODUCTION. 


Within  the  century  comprised  between  the  birth  of  Sir  Joshua  Reynolds 
in  1723  and  the  death  of  Sir  Henry  Raeburn  in  1823  the  English  school 
of  painting,  both  in  portraiture  and  landscape,  was  firmly  established,  and 
set  an  example  which  other  countries  were  quick  to  follow.  Until  then  the 
influence  of  the  art  of  the  Renaissance  still  lingered  throughout  Europe,  but 
in  the  1 8th  century  this  was  to  give  way  to  newer  ideals  and  altered  methods, 
in  which  the  study  of  nature  gradually  took  the  place  of  the  worn-out 
formulae  of  the  schools  ;  and  so  modern  painting,  in  the  evolution  of  which 
this  country  has  taken  so  large  a  share,  came  into  existence.  This  new 
English  school  produced  some  of  the  most  brilliant  painters  among  the 
many  illustrious  names  to  be  found  in  the  annals  of  art. 

This  is  not  the  place  in  which  to  discuss  the  causes  which  led  to  this 
great  outburst  of  artistic  production,  after  a  long  period  of  mediocrity  in 
painting  based  upon  the  study  of  Italian  art  in  its  latest  and  most  mannered 
style,  an  outburst  which  laid  the  foundations  of  English  painting  so  soundly. 
It  is  the  more  surprising  in  that  it  owed  little,  if  anything,  to  native 
traditions  of  art  built  up  slowly  and  surely  after  centuries  of  effort,  such  as 
was  the  case  in  Italy  and  the  Netherlands. 

To  William  Hogarth  (i 697-1 764)  is  usually  assigned  the  honour  of 
being  the  first  painter  who  was  essentially  English  both  in  method  and 
outlook  ;  and  this  is  true  in  a  large  degree,  though  there  are  undoubted 
traces  of  a  national  school  of  painting  as  far  back  as  the  days  of  Van 
Dyck  ;  but  Hogarth,  a  great  and  truly  original  artist,  was  the  first  who 
completely  threw  off  all  foreign  and  ancient  influences.  "  The  eighteenth 
century  came  in  as  an  academic  age  in  art,"  says  Muther.  "Turning  away 
from  life,  it  spent  itself  in  allegory  and  the  imitation  of  typical  figures  that 
had  been  inherited  from  the  Renaissance  and  petrified  into  academic  work. 
Then  came  Hogarth,  and  his  quick  vision  discovered  the  new  way.  He 
looked  out  upon  the  life  surrounding  him,  with  its  manifold  idiosyncrasies, 
and  felt  himself  with  pride  to  be  the  son  of  a  new  age,  in  which  rigid, 
conventional  forms  were  everywhere  penetrated  by  the  modern  ideas  of 
free  thought,  the  rights  of  man,  conformity  to  nature  and  manners.  This 
world  which  confronted  him  he  depicted  truly  as  it  was,  in  all  its  beauty 

5 


and  its  ugliness.  With  him  was  the  origin  of  modern  art.  Before  his 
paintings  and  engravings  pale  idealism  disappeared.  It  was  he  who  resolved 
and  set  out  to  bring  into  the  world  a  new  and  independent  observation  of 
life." 

In  the  reign  of  George  II.  young  artists  had  singularly  few  opportunities 
of  learning  their  profession,  when  compared  with  those  with  which  the 
student  is  surrounded  to-day.  Sir  Joshua,  after  a  short  and  useful  period 
spent  in  the  studio  of  Thomas  Hudson — a  painter  of  repute  in  his  day, 
and  a  good  draughtsman,  but  lacking  in  all  the  higher  qualities  which 
graced  the  art  of  his  famous  pupil — went  to  Italy  for  three  years  before 
settling  in  London  in  1752,  where,  in  the  space  of  a  few  years,  he  stepped 
easily  into  the  position  of  the  first  painter  of  the  day.  Neither  Gains- 
borough nor  Romney  had  this  great  advantage  of  a  prolonged  study,  at  the 
impressionable  period  of  their  lives,  of  Italian  art  in  its  own  home.  Such 
training  as  Gainsborough  received  in  London  from  Gravelot  and  Francis 
Hayman  had  little  effect  upon  his  style,  and  the  period  of  his  tuition 
was  short.  He  was  a  student  in  the  St.  Martin's  Lane  Academy.  "  In 
this  Academy  most  of  the  English  artists  of  the  reign  of  George  II.,  and 
the  early  part  of  that  of  George  III.,  acquired  the  rudiments  of  education 
in  the  arts  of  design.  No  systematic  course  of  education  for  the  training 
of  young  painters  was  attempted  ;  an  opportunity  of  studying  from  the 
life  was  all  that  was  provided,  but  no  doubt  the  older  men,  most  of  them 
but  indifferent  performers  at  the  best,  were  willing  to  impart  a  certain 
amount  of  informal  instruction.  Among  them  Francis  Hayman  was  a 
leader.  English  art  at  this  time  had  reached  its  lowest  ebb.  The  few  real 
artists,  such  as  Hogarth  and  Richard  Wilson,  had  a  hard  fight  of  it  to  make 
a  living,  while  foreigners  like  Cipriani  and  Zuccarelli  obtained  most  of  the 
patronage.  There  was  little  market  for  anything  but  a  portrait,  and 
landscapes  were  almost  unsaleable.  Gainsborough  may  have  learnt  some 
of  the  rudiments  of  his  art  in  the  Academy,  though,  happily,  he  remained 
uninfluenced  by  the  worn-out  theories  and  insufficient  practice  of  most  of 
the  men  who  met  there — a  society  largely  made  up  of  scene  painters, 
inferior  engravers,  coach  painters,  the  drapery  assistants  of  portrait  painters, 
and  fourth-rate  artists  of  all  classes "  ("  Thomas  Gainsborough  " — 
Duckworth's  Library  of  Art).  Gainsborough's  art,  both  in  portraiture 
and  landscape,  remained  essentially  his  own,  though  after  his  thirtieth  year 
he  came  under  the  influence  of  Van  Dyck,  for  whose  work  he  had  ever  the 
greatest  admiration.  George  Romney  received  even  less  assistance  in  his 
youth,  and  had  to  be  content  with  an  apprenticeship  to  an  itinerant 
portrait  painter,  Christopher  Steele  ;  and  it  was  not  until  he  was  forty  that 
the  long  and  eagerly-desired  visit  to  Italy  was  possible.  Yet,  in  spite  of 
the  absence  of  any  national  school  or  tradition  of  painting  to  which  they 
6 


could  turn  with  confidence  in  the  tentative  days  of  their  youth,  these  three 
masters  of  the  i8th  century  won  for  themselves  a  position  of  high 
distinction  such  as  few  painters  have  held  before  or  since  their  day,  and 
gave  an  impetus  and  direction  to  English  painting  which  has  not  yet  been 
exhausted. 

It  is  not  easy,  nor  is  it  necessary,  to  decide  as  to  the  relative  merits 
of  Reynolds  (1723-1792)  and  Gainsborough  (1727-1788).  Each  had 
extraordinary  gifts,  and  in  the  art  of  each  there  are  qualities  not  to  be  found 
in  that  of  the  other.  Contemporaries  and  rivals,  between  them  they 
raised  the  art  of  English  portraiture  to  an  eminence  infinitely  higher  than 
had  been  reached  before  their  day,  and,  by  the  magic  of  their  brush,  they 
fixed  upon  canvas,  for  the  benefit  of  succeeding  generations,  the  life-like 
presentments  of  all  their  most  famous  contemporaries,  in  statesmanship, 
war,  literature,  science,  the  fine  arts,  and  society. 

To  the  untrained  eye  the  art  of  these  two  masters  is  in  many  points  so 
similar  that  it  is  difllicult  to  decide  by  which  of  them  a  portrait  has  been 
painted,  yet  their  work  is  essentially  different  both  in  method  and  in  the 
point  of  view  from  which  they  approached  their  sitters.  Sir  Joshua,  as  a 
young  man,  based  his  practice  on  a  serious  study  of  Italian  art.  He  had  a 
passionate  admiration  for  Michael  Angelo,  and  all  his  life  sought  to  wrest 
from  the  Venetians  their  secret  of  glowing  colour.  Increasing  application 
and  perseverance  formed  the  key-note  of  his  life,  and  in  his  search  after 
perfection  he  would  paint  and  repaint  a  subject,  in  his  resolution  to  make 
it  a  better  work  than  his  last.  From  the  Italians  he  conveyed  into  his  own 
art  a  dignity,  grace,  and  sweetness,  together  with  a  power  and  colour, 
previously  unknown  in  English  art.  As  he  advanced  towards  old  age  his 
hand  only  gained  in  power,  and  his  colour  in  richness  and  splendour.  In 
range  of  subject  as  well  as  in  method  he  had  a  far  wider  reach  than 
Gainsborough,  and  his  pictures  have  a  distinction,  a  reality,  and  an  abiding 
charm,  which  will  always  cause  many  to  consider  him  as  the  greatest  of 
English  portrait  painters,  as  he  is  undoubtedly  one  of  the  foremost  artists 
the  world  has  yet  known.  Of  him  Ruskin  says  "  that  there  was  hardly 
ever  born  a  man  with  a  more  intense  and  innate  gift  of  insight  into  human 
nature.  Considered  as  a  painter  of  individuality  in  the  human  form 
and  mind,  I  think  him,  even  as  it  is,  the  prince  of  portrait  painters, 
as  a  colourist  who  can  be  crushed  by  none,  not  even  the  Venetians.  The 
tenderness  of  some  of  his  touches  is  quite  beyond  telling."  Reynolds  may 
be  said  to  have  approached  nearer  to  an  even  and  demonstrable  excellence 
than  Gainsborough,  but  in  grace,  spirit,  lightness  of  insight  and  of  touch, 
Gainsborough  is  peculiarly  eminent.  His  handling,  at  first,  appears  slight,  0 
but  it  is  masterly,  and  is  based  on  solid  foundations.  He  produced  the 
effects  at  which  he  aimed  with  an  unerring  hand,  and  what  to  the  uncritical 

7 


appears  to  be  "  sketchiness,"  or  "  impressionism,"  is  in  reality  art  ot  the 
finest  and  most  delicate  kind.  Gainsborough's  aim  was  entirely  pictorial. 
As  Sir  Walter  Armstrong,  in  his  "  Life  of  the  Artist,"  says,  "  With 
Gainsborough  the  impression  was  everything.  His  finest  works  were  all 
impromptus.  A  sympathetic  personality  had  the  power  to  set  his  brain 
burning  with  creation  at  a  touch.  In  his  finest  eflFbrts  we  cannot  discover 
the  faintest  sign  of  that  mental  preparation  which  is  so  evident  in 
Sir  Joshua.  Beauty  and  aesthetic  unity  grew  under  his  hand  with 
an  unequalled  rapidity.  His  art  is  vital,  spontaneous."  Gainsborough 
penetrated  into  the  personalities  of  his  sitters  to  a  greater  depth  than 
Reynolds.  The  latter  was  essentially  a  trained  observer,  with  less  of  that 
deep  sympathy  and  unerring  sense  of  essentials  which  enabled  Gains- 
borough to  lay  bare  to  us  the  inmost  personalities  of  his  sitters.  Ruskin 
says  of  him  that  he  was  the  purest  colourist,  Sir  Joshua  not  excepted,  of 
the  whole  English  school.  "  In  management  and  quality  of  single  and 
particular  tint,  in  the  purely  technical  part  of  painting.  Turner  is  a  child  to 
Gainsborough.  His  hand  is  as  light  as  the  sweep  of  a  cloud,  as  swift 
as  the  flash  of  a  sunbeam." 

The  third  member  of  this  great  trio  ot  English  painters,  George 
Romney  (1734-1802)  had,  during  his  life,  a  reputation  second  only  to  that 
of  Reynolds  and  Gainsborough.  His  sitters  were  as  numerous  and  of 
similar  rank  to  those  who  crowded  the  studios  of  his  rivals.  In  certain 
directions  he  was  not  their  equal,  largely  owing  to  his  lack  of  education 
and  early  artistic  training,  and  to  a  morbidly  sensitive  nature  and  a  way- 
wardness of  imagination,  which  resulted  in  a  lack  of  fixed  purpose,  so 
that  he  was  constantly  attempting  works  which  he  never  finished.  His 
greatness  lay  in  his  portraits,  rather  than  in  his  historical  compositions  and 
imaginative  paintings,  more  especially  in  those  of  beautiful  women  and 
young  children,  which  are  full  of  a  nameless  grace,  distinction  and  sweetness ; 
and  in  these  he  reached,  at  times,  a  height  beyond  which  his  two  great 
contemporaries  did  not  always  pass  him. 

These  three  men  overshadowed  the  work  of  all  other  painters  of  their 
day,  among  whom,  however,  there  were  several  of  great  artistic  gifts,  such 
as  Johann  Zoffany  (1733-18 10),  the  popular  painter  of  actors  and  actresses 
in  their  favourite  parts  ;  and  John  Opie,  R.A.,  the  "  Cornish  Wonder," 
whose  work  has  vigour,  individuality,  and  freshness.  Among  the  men 
who  followed  in  their  footsteps  there  were  also  several  whose  work  was  of 
an  admirable  kind,  which  is  much  prized  by  connoisseurs  at  the  present 
day.  John  Hoppner  (1758-18 10),  who  began  as  an  imitator  of  Reynolds, 
and  was  undoubtedly  the  most  brilliant  representative  of  his  school,  gained 
much  popularity  as  a  painter  of  beautiful  women  and  children,  and 
on  occasions  almost  equalled  his  master.  He  was  no  mere  copyist, 
8 


however,  and  his  work,  at  its  best,  has  much  original  artistic  grace  and 
beauty.  Some  of  his  greatest  achievements  are  included  in  this  exhibition, 
particularly  No.  32,  "The  Daughters  of  Sir  Thomas  Frankland  "  ;  No.  11, 
"  Mrs.  Jordan  as  '  Hypolita  '  "  ;  No.  49,  "  Warren  Hastings  "  ;  No.  29, 

The  Duchess  of  Rutland  "  ;  and  No.  39,  "  John  and  Henry  Cust,"  all 
of  which  display  artistic  qualities  of  a  very  high  order. 

Sir  Henry  Raeburn,  R.A.  (1756-1823),  the  "Scottish  Velasquez,"  as 
Wilkie  called  him,  and  the  greatest  portrait  painter  that  Scotland  has 
produced,  held  in  Edinburgh  a  position  similar  to  that  of  Sir  Joshua  in 
London.  He  painted  most  of  the  leading  men  and  women  of  his  day,  and 
these  portraits  are  broad  and  effective  in  their  treatment,  harmonious 
in  colour,  masterly  in  execution,  and  of  great  style,  so  that  they  are 
deservedly  held  in  the  highest  repute.  Few  finer  or  more  dignified 
portrait  groups  have  been  painted  than  No.  25,  "  Mr.  James  Harrower,  of 
Inzievar,  and  his  Wife  and  Son,"  a  work  which  alone  is  sufficient  to  place 
the  painter  among  the  masters.  Other  brilliant  examples  of  Raeburn  are 
No.  37,  "The  Leslie  Boy";  No.  40,  "A  Girl  Sketching"  ;  No.  67, 
"  The  Two  Boys  "  ;  and  No.  63,  "  Miss  Jane  Hodgson."  Both  Hoppner 
and  Raeburn  are  represented  here  at  their  best,  as  well  as  Sir  Thomas 
Lawrence,  P.R.A.  (i 769-1 825),  whose  dexterous  touch  and  somewhat 
conventional  grace,  added  to  his  fascinating  social  manners,  made  him  by 
far  the  most  fashionable  painter  of  the  first  quarter  of  the  nineteenth 
century,  so  that  his  career  was  one  long  triumph.  No.  23,  "  Miss  Croker," 
is  one  of  his  most  celebrated  works,  and  No.  65,  "  Mrs.  Earle,"  is  another 
example  of  Lawrence  at  his  best.  Among  the  other  artists  represented  in 
the  exhibition  are  Francis  Cotes  (i 726-1 770),  John  Russell  (i 744-1 806), 
Wright,  of  Derby  (i 734-1 797),  and  John  Constable  (i 776-1 837).  These 
painters,  although  they  did  not  equal  some  of  their  contemporaries  and 
predecessors,  have  added  distinction  to  the  annals  of  portrait  painting,  and 
their  works  still  charm  us  as  they  charmed  an  earlier  generation. 


CATALOGUE. 


The  terms  "  right "  and  "  left "  used  in  the  descriptions  of  the  pictures  denote  the  right  and 
left  of  the  spectator,  not  of  the  sitter  in  the  picture. 

For  Biographical  Notices  of  the  Artists,  see  pages  66—76. 

I.    RICHARD  STONEHEWER,  M.A. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  the  Earl  of  Jersey.,  G.C.B. 

Richard  Stonehewer,  the  close  friend  of  Thomas  Gray,  the  poet,  son  of 
Richard  Stonehewer,  rector  of  Hough ton-le-Spring,  Durham,  was  born 
about  1728.  At  the  age  of  seventeen,  in  1745,  he  was  admitted  a  pen- 
sioner at  Trinity  College,  Cambridge.  He  at  once  became  known  to  Gray, 
probably  through  Dr.  Thomas  Wharton,  of  Old  Park,  near  Durham,  the 
poet's  life-long  friend.  He  was  elected  a  fellow  of  Peterhouse  in  1751, 
and  M.A.  in  1753.  He  was  tutor  to  Augustus  Henry  Fitzroy,  third 
Duke  of  Grafton,  and  when  the  latter  entered  political  life  Stonehewer 
became  his  private  secretary,  and  retained  confidential  relations  with  him 
throughout  his  life.  He  was  the  Duke's  under-secretary  of  state  for  the 
northern  department  in  1765,  and  in  the  following  year  held  a  similar 
position  for  the  southern  department  under  the  Duke  of  Richmond. 
Through  the  Duke  of  Grafton  he  obtained  for  Gray  the  professorship  of 
modern  history  and  languages  at  Cambridge,  and  was  himself  made 
permanent  Auditor  of  the  Excise.  Gray  called  him  his  "best  friend,"  and 
left  him  ;^500  in  his  will.  William  Burke  considered  him  "  a  gentleman 
of  great  worth,  extreme  good  understanding,  and  of  the  politest  manners." 
He  was  on  terms  of  friendship  with  Horace  Walpole.  He  died  January 
30th,  1809,  aged  81,  The  manuscripts  which  Gray  left,  together  with  his 
library,  to  Mason,  were  left  by  Mason  to  Stonehewer,  who  bequeathed  to 
Pembroke  College,  Cambridge,  Gray's  common-place  books,  and  holograph 
10 


copies  of  most  of  his  poems.    Sir  Joshua  painted  his  portrait  in  1775 
the  Duke  of  Grafton,  of  which  the  picture  exhibited  here  is  a  replica. 
Stonehewer  also  sat  to  Reynolds  in  October,  1782. 

Bust,  life  size,  facing  spectator,  the  head  turned  towards  the  left  ;  black  hair,  dark 
red  robe  trimmed  with  fur,  white  neckcloth. 

On  canvas,  oval  in  a  square,  29^  in.  high  by  24  in.  wide. 

The  Duke  of  Grafton's  version  of  this  picture  cost  35  guineas,  in  1775,  and  was 
exhibited  at  the  British  Institution,  1843,  and  the  National  Portrait  Exhibition,  1867. 

2.    HENRY  FREDERICK,  DUKE  OF  CUMBERLAND. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  His  Majesty  the  King. 

Henry  Frederick,  Admiral  of  the  White,  K.G.,  grandson  of  George  II., 
was  the  fourth  son  of  Frederick  Lewis,  Prince  of  Wales,  and  brother  of 
George  III.  He  was  born  on  October  27th,  1745,  and  created  Duke  of 
Cumberland  and  Strathearn  and  Earl  of  Dublin  in  1766.  He  married, 
on  October  4th,  1771,  Anne  Luttrell,  eldest  daughter  of  Simon  Luttrell, 
afterwards  Earl  of  Carhampton,  of  Four  Oaks  Park,  Sutton  Coldfield,  and 
of  Maria,  daughter  of  Sir  Nicholas  Lawes,  Governor  of  Jamaica.  She  had 
married,  in  1765,  Christopher  Horton,  of  Catton  Hall,  Derbyshire,  and 
was  left  a  widow  four  years  later.  She  was  one  of  the  greatest  beauties  of 
the  day,  and  is  described  as  "  a  supremely  beautiful  creature  at  the  time  of 
her  first  marriage."  The  ceremony  of  her  marriage  with  the  Duke  was 
performed  at  her  own  house  in  Hertford  Street,  Mayfair.  The  Duke  and 
Duchess  went  to  France,  and  on  their  return  the  King  refused  to  receive 
them  at  Court.  The  alliance  was  highly  displeasing  to  King  George,  and 
was,  in  fact,  the  occasion  of  the  Royal  Marriage  Act,  1772.  Ultimately, 
however,  the  Duchess  regained  her  footing  at  Court,  and  even  became  a 
personal  favourite  of  Queen  Charlotte.  Her  husband  and  his  royal 
brother  were  among  the  least  brilliant  specimens  of  the  Hanoverian 
family.  The  Duke  of  Cumberland,  in  particular,  had  been,  before  his 
marriage,  connected  with  more  than  one  disgraceful  scandal  ;  but  the 
judicious  influence  of  his  wife,  and  the  affection  which  she  bestowed  upon 
him,  caused  a  great  alteration  for  the  better  in  his  demeanour.  He  died  on 
September  i8th,  1790,  acknowledging  with  gratitude  her  affectionate 
attentions,  and  was  buried  in  Westminster  Abbey. 

Gainsborough  painted  the  Duchess  several  times,  and  both  her  husbands. 
The  most  famous  one,  which  represents  the  royal  couple  walking  arm-in- 

I  I 


arm  in  Kensington  Gardens,  with  Lady  Elizabeth  Luttrell  seated  behind 
them,  is  in  the  possession  of  His  Majesty  at  Windsor  Castle.  This 
unfinished  portrait  of  the  Duke  is  probably  the  companion  portrait  to  the 
unfinished  one  of  the  Duchess  which  was  exhibited  in  the  Birmingham  Art 
Gallery  in  1900,  and  further  details  of  the  lady's  career  will  be  found  in 
the  catalogue  of  that  exhibition.  She  sat  to  Reynolds  as  Mrs.  Horton  in 
1 77 1,  and  again  in  April,  1772,  with  the  Duke,  when  they  were  still  under 
Royal  ban.  "When  the  Duchess  whispered  to  the  Duke  to  say  something 
to  the  painter,  all  he  could  manage  was  :  "  What,  eh,  so  you  always  begin 
at  the  head,  do  you.?"  They  also  sat  to  Reynolds  in  February,  1773. 
Her  portrait  by  Reynolds  was  exhibited  in  Birmingham  in  1900,  lent  by 
Captain  F.  Saunderson. 

Unfinished.  Head  and  shoulders  only,  facing  spectator,  the  head  slightly  turned  to  left ; 
powdered  hair  [see  illustration). 

On  canvas,  50  in.  high  by  38^  in.  wide. 

Exhibited  at  the  New  Gallery,  Guelph  Exhibition,   1 89 1,  No.  309. 
Reproduced  in  Lord  Ronald  Sutherland  Gower's  "Thomas  Gainsborough,"  1903. 

3.    WILLIAM  GIFFORD.  JOHN  HOPPNER,  R.A. 

Lent  by  George  W.  AgneWy  Esq. 

William  GifFord,  the  first  editor  of  the  Quarterly  Review^  was  born  at 
Ashburton,  Devonshire,  in  1757.  He  began  life  as  a  cabin-boy,  but  at  the 
age  of  twenty  was  sent  by  some  friends  to  school,  and  afterwards  to  Oxford. 
He  travelled  on  the  continent  with  Lord  Belgrave,  and  on  his  return 
settled  down  to  a  life  of  literature  in  London.  In  1791  he  published  the 
Baviady  and  in  794  the  Maviad.  In  1797  he  became  editor  of  the  Anti- 
JacobtHy  and  in  1809,  when  the  Quarterly  Review  was  established,  he 
became  its  editor.  GiflTord  was  Paymaster  to  the  Gentlemen  Pensioners 
and  Comptroller  of  the  Lottery,  two  sinecures  which  brought  him  in  ^^900 
a  year  while  they  lasted.  He  died  in  1826.  This  portrait  is  said  to  have 
been  painted  for  Dean  Ireland. 

Bust  to  waist,  life  size  ;  fair  hair  ;  seated  in  red-covered  chair,  facing  left,  and  looking  down 
at  a  book  held  with  both  hands  ;  black  coat  and  waistcoat,  white  neckerchief  {see  illustration). 

On  canvas,  30  in.  high  by  24  in.  wide. 

A  very  similar  portrait,  also  by  Hoppner,  was  exhibited  in  the  Grosvenor  Gallery  Winter 
Exhibition,  1889,  No.  120,  lent  by  Mr.  John  Murray. 


4.    LADY  POLE,  afterwards  wife  of  George  Clavering,  of  Greencroft. 

GEORGE  ROMNEY. 


Lent  by  the  Rev,  J.  W,  Napier-Clavering. 

Anna  Maria,  daughter  of  the  Rev.  W.  Palmer,  of  Combe  Raleigh, 
CO.  Devon,  married,  as  his  second  wife.  Sir  John  Pole,  fifth  baronet, 
of  Shute,  CO.  Devon.  His  first  wife,  who  died  in  1758,  was  Elizabeth, 
daughter  of  John  Miles,  of  Woodford.  Sir  John  Pole  died  on  February 
19th,  1766,  and  Lady  Pole  married,  a  few  years  afterwards,  George 
Clavering,  of  Greencroft,  second  son  of  Sir  James  Clavering,  sixth  baronet, 
of  Axwell,  county  Durham.  By  this  marriage  she  became  the  mother  of 
Sir  Thomas  John  Clavering,  eighth  baronet,  of  Axwell  and  Greencroft, 
born  1 77 1,  whose  portrait,  together  with  that  of  his  sister  Catherine  Mary, 
as  children,  painted  by  Romney,  was  No.  35  in  the  Exhibition  of  Portraits 
held  in  the  Birmingham  Art  Gallery  in  1900. 

Three-quarter  length,  figure  facing  spectator,  head  turned  to  left  ;  the  right  arm  resting 
on  a  stone  pedestal  with  hand  against  right  cheek,  left  hand  in  lap  ;  dark  hair  with  white 
ribbon,  dress  of  pink  silk,  green  shawl  and  waistband  ;  dark  landscape  background. 

On  canvas,  36  in.  high  by  28  in.  wide. 

5.    A  FAMILY  GROUP  :  Unfinished  sketch  for  a  picture. 

J.  S.  COPLEY,  R.A. 

Lent  by  G.  T".  Taylor,  Esq. 

This  is  said  to  be  a  sketch  for  a  large  portrait-group  commissioned  by  a 
gentleman,  of  unknown  name,  who  was  four  times  married,  having  issue  by 
each  wife.  He  requested  Copley  to  introduce  portraits  of  this  quartette  of 
ladies  into  the  picture,  and  the  three  earlier  ones  are  to  be  seen  looking 
down  from  heaven  upon  their  numerous  progeny  below. 

Unfinished  sketch,  monochrome,  containing  twelve  small  full-length  figures. 
On  canvas,  24  in.  high  by  36  in.  wide. 

13 


6.    AMELIA  OPIE. 


JOHN  OPIE,  R.A. 


Lent  by  William  McKay ^  Esq. 

Amelia  Opie,  second  wife  of  John  Opie,  the  painter,  was  a  popular 
novelist  and  writer  of  lyrics.  She  was  the  daughter  of  Dr.  John  Alderson, 
a  Norwich  physician,  in  whose  society  she  spent  most  of  her  life,  sharing 
to  the  full  his  revolutionary  opinions.  She  sang  well,  and  was  a  fine 
conversationalist,  so  that  she  was  courted  by  society,  and  her  literary  talents 
aided  her  husband  in  the  composition  of  his  Royal  Academy  lectures. 
When  left  a  widow  in  1807,  she  returned  to  Norwich,  and,  with  her 
father's  approval,  joined  the  Society  of  Friends  and  assumed  the  Quaker 
style  and  dress.  Her  best  remembered  books  are  "  Father  and  Daughter  " 
(1801),  "Illustrations  of  Lying"  (1827),  and  "Valentine's  Eve"  (1816). 
Mrs.  Inchbold  says  that  she  was  "  far  cleverer  than  her  books."  She 
retained  her  cheerfulness  and  interest  in  political  events  to  the  last,  and 
visited  Paris  in  1830,  and  took  part  in  the  London  Exhibition  of  1851. 
She  died  at  Norwich  in  1853. 

Half  length,  life  size,  facing  left,  full  face  ;  powdered  hair,  with  light  blue  band,  white 
dress  with  fichu  ;  dark  background,  with  flowers  on  left. 

On  canvas,  30  in.  high  by  24  in.  wide. 


7.    RICHARD,  SECOND  EARL  OF  SHANNON. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Mrs.  C.  Morland  Agnew. 

Richard,  Viscount  Boyle,  afterwards  second  Earl  of  Shannon,  was  the 
eldest  son  of  Henry  Boyle,  the  first  Earl  of  Shannon,  of  Castle  Martyr, 
who  filled  some  of  the  highest  political  offices  in  the  kingdom  of  Ireland, 
such  as  Speaker  of  the  House  of  Commons,  Chancellor  of  the  Exchequer, 
and  Lord  Justice,  and  was  raised  to  the  peerage  in  1756.  Richard  Boyle 
was  born  January  30th,  1728,  his  mother  being  Harriet,  youngest  daughter 
of  Charles,  third  Earl  of  Cork,  and  succeeded  to  the  earldom  in  1764. 
He  was  created  a  peer  of  Great  Britain,  as  Baron  Carleton,  in  1786,  having 
filled  some  high  political  offices,  and  being  a  member  of  the  Privy  Council. 

14 


No.  7 


RICHARD,  SECOND  KARL  OF  SHAWON" 
SiiJ  Josni  A  Rl■:^  xoi.ns,  I'.  R.A. 


No.  S 

THE  MASTERS  C.AWLER 
Sir  Joshl  a  Res  noi.ds,  I'.R.A. 


He  married,  December  15th,  1763,  Catherine,  eldest  daughter  of  the 
Right  Hon.  John  Ponsonby,  speaker  of  the  Irish  House  of  Commons,  and 
second  son  of  the  first  Earl  of  Bessborough,  and  died  in  1 807. 

Three-quarter  length,  life  size,  standing  under  a  tree,  facing  right,  head  turned  full  face  ; 
right  hand  resting  on  hip,  the  left  holding  a  cane  ;  powdered  hair  or  small  wig  ;  grey-green 
coat  with  gold  buttons,  long  square-cut  gold-laced  waistcoat  ;  open  landscape  on  the  right 
(see  Illustration). 

On  canvas,  48  in.  high  by  39  in.  wide. 

Painted  in  1759,  when  Lord  Boyle. 

Exhibited  at  the  Royal  Academy,  Winter  Exhibition,  i886. 
In  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 


8.    THE  MASTERS  GAWLER. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Lord  Burton. 

Portraits  of  John  Bellenden  and  Henry,  sons  of  John  Gawler,  of  the 
Inner  Temple,  and  of  Caroline,  his  wife,  daughter  of  John,  third  Lord 
Bellenden.  Painted  in  1776.  Mr.  Gawler  sat  to  Reynolds  in  1779,  1780, 
and  178  I,  and  the  Hon.  Caroline  Gawler  in  1777.  A  portrait  of  Mr.  John 
Gawler,  said  to  have  been  painted  in  1776,  was  engraved  by  J.  R.  Smith 
in  1777.  A  portrait  of  the  Hon.  Caroline  Gawler,  by  Reynolds,  also  said 
to  have  been  painted  in  1776,  30  by  25,  was  sold  at  Christie's  in  1892  for 
300  guineas. 

Three-quarter  length  figures  of  two  boys  with  a  Newfoundland  dog.  The  auburn-haired, 
cider  brother  to  the  left  is  dressed  in  a  black  suit,  with  white  lace  collar  and  cuffs.  He 
carries  a  portfolio  under  his  left  arm,  and  with  his  right  hand  caresses  the  upturned  head  of  the 
dog.  The  black-eyed,  dark-haired  younger  boy  clasps  his  brother  round  the  shoulders  with 
his  left  arm,  and  points  outward  with  his  right.    Landscape  background  ( see  illustration ) . 

On  canvas,  35  in.  high  by  27jin.  wide. 

Paid  for  in  1778, — 70  guineas. 

Engraved  by  J.  R.  Smith  in  1778  as  "The  School  Boys." 
Exhibited  at  the  British  Institution,  1842. 

15 


At  the  Grosvenor  Gallery  Winter  Exhibition,  1889,  No.  50. 
In  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 
From  the  E.  Harrison  collection,  1873. 

From  the  Collection  of  John  Graham,  of  Skelmorlie  Castle,  Ayrshire,  1887. 

9.    MISS  RIDGE.  SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Sir  Charles  Tennant^  Bart. 

Miss  Ridge  was  the  daughter  of  John  Ridge,  an  Alderman,  and  member 
of  the  Irish  Bar,  a  personal  friend  of  Sir  Joshua's.  Goldsmith  mentions 
him  in  his  poem  of  The  Retaliation  : — 

"  To  make  out  the  dinner,  full  certain  I  am. 
That  Ridge  is  Anchovy,  and  Reynolds  is  Lamb  ; 
That  Hickey  is  Capon,  and  by  the  same  rule, 
Magnanimous  Goldsmith  is  Gooseberry  Fool." 
Painted  in  1773.    This  picture  appears  to  correspond  with  one  exhibited 
in  the  Grosvenor  Gallery,  1883-84,  as  No.  116,  "Unfinished  portrait  of 
Miss  Ridge,"  lent  by  Dr.  Hamilton,  painted  in  1773,  which  was  sold  at 
the  Marchioness  of  Thomond's  sale  (1821)  to  Mr.  Gwatkin  for  30  guineas. 
There  was  a  second  portrait  of  Miss  Ridge  in  the  same  exhibition.  No.  95, 
a  bust,  full  face,  in  a  blue  dress,  lent  by  Mr.  Frederick  Haworth,  also  said 
to  have  been  painted  in  1773. 

Bust  to  waist,  life-size,  facing  spectator,  the  left  arm  resting  on  a  parapet  ;  white  silk  dress 
trimmed  with  yellow,  blue  sash  and  bow  ;  black  ribbon  round  neck  and  blue  ribbon  in  hair  ; 
landscape  background  {see  illustration). 

On  canvas,  35-|-in.  high  by  24  in.  wide. 

Exhibited  at  the  New  Gallery,  Guelph  Exhibition,  1891,  No.  160. 
In  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 
Formerly  in  the  possession  of  the  Reynolds  family. 
From  the  collection  of  the  Marquess  of  Lansdowne. 
From  the  collection  of  Alfred  de  Rothschild,  Esq. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  N6V.,  1903. 
16 


No.  g 


MISS  RIDGE 
Sir  JosHi;.\  Revmilds,  P.R.A. 


V 


lo.    MISS  SOPHIA  ELIZABETH  LAWRENCE. 


GEORGE  ROMNEY. 
Lent  by  Lockett  Jgnew,  Esq. 

She  was  the  daughter  of  William  Lawrence,  Esq.,  of  Wimbledon,  and 
afterwards  of  Kirby  Fleatham,  Yorkshire,  M.P.  for  Ripon,  Yorks.,  from 
1761  to  1798.  She  was  born  in  1761  and  died  in  1845.  This  portrait 
was  painted  in  1786,  when  she  was  twenty-five,  a  year  later  than  the 
companion  portrait  of  her  brother  William,  who  died  soon  after  it  was 
completed.     She  is  evidently  wearing  mourning  on  his  behalf  (see  No.  14). 

Three-quarter  length,  life  size,  facing  right,  seated  against  a  column  ;  the  right  arm  resting 
on  a  table  covered  with  a  red  curtain,  left  hand  placed  upon  back  of  right  hand  ;  brown 
hair  slightly  powdered,  with  two  long  curls  falling  on  shoulders  ;  black  dress  cut  low,  with  white 
fichu  and  a  long  string  of  pearls  ;  thin  black  band  round  neck  ;  on  the  right  a  landscape, 
apparently  the  sea  shore  (see  illustration). 

On  canvas,  49J  in.  high  by  39^  in  wide. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  Nov.  1903. 

II.    MRS.  JORDAN  as  «  Hypolita  "  in  She  Would  and  She  Would  Not. 

JOHN  HOPPNER,  R.A. 

Lent  by  Edward  D.  Stern,  Esq. 

Dorothea,  or  Dorothy,  Jordan,  actress,  was  born  near  Waterford,  in 
Ireland,  in  1762.  In  1777  she  appeared  in  Dublin  as  "Phoebe,"  in  j4s 
Tou  Like  it.  After  somewhat  unfortunate  experiences  in  Ireland,  she 
appeared  at  Leeds  in  1782  under  Tate  Wilkinson,  manager  of  that  circuit, 
and  played  a  number  of  parts  with  success  in  York  and  other  northern 
towns.  She  first  appeared  at  Drury  Lane  in  1785  as  "  Peggy,"  in  The 
Country  Girl,  and  by  the  end  of  her  first  season  was  established  in  public 
favour.  During  her  long  engagement  at  Drury  Lane,  lasting  until  1809, 
she  played  many  tragic  and  sentimental  parts,  but  gradually  a  sense  of  her 
unparalleled  excellence  in  comedy  dawned  upon  the  management,  and  the 
chief  leading  comic  and  "  breeches  "  parts  were  assigned  to  her.  From 
1809  to  1 8 14  she  was  at  Covent  Garden.  Sir  Joshua  Reynolds  preferred 
her  to  all  actresses  of  her  time,  while  Byron  declared  her  superb,  and  all 
writers  of  the  period  sang  her  praises.  Her  domestic  life  was  brilliant 
rather  than  happy,  and  caused  much  scandal.  In  1790  she  became  the 
mistress  of  the  Duke  of  Clarence,  subsequently  William  IV.,  and  bore  him 

17 


ten  children,  all  of  whom  took  the  name  of  FitzClarence.  Her  final 
separation  with  him  was  in  1811.  A  curious  mystery  enveloped  her 
last  days.  She  is  said  to  have  been  in  danger  of  imprisonment  on  account 
of  money  liabilities.  In  1 8 1 5  she  went  to  France,  and  died  at  Versailles 
in  the  following  year. 

Before  the  close  of  her  first  season  at  Drury  Lane  she  appeared  as 
"  Hypolita,"  in  Colley  Gibber's  comedy,  She  Would  and  She  Would  Not,  or 
the  Kind  Imposter,  playing  the  part  in  Edinburgh  and  Glasgow  in  the 
following  year,  where  medals  were  struck  in  her  honour.  In  this  play,  in 
which  Hypolita  follows  her  lover,  Don  Philip,  to  Madrid,  disguised  as  a 
young  gentleman  of  fashion,  she  wears  man's  attire  throughout  the  five 
acts,  and  many  amusing  complications  ensue.  Genest  says  "she  had  never 
a  superior  in  her  line,"  and  adds  that  her  "  Hypolita "  will  never  be 
excelled.  Hoppner  also  painted  her  in  The  Country  Girl,  the  picture  being 
now  at  Hampton  Court.  Her  portrait,  by  Romney,  was  exhibited  in  the 
Birmingham  Art  Gallery  in  1900,  lent  by  Sir  W.  Cuthbert  Quilter,  Bart. 

Bust  to  waist,  life  size,  turned  towards  right,  full  face  ;  brown  wig  ;  white  silk  man's  dress 
lined  with  blue,  and  trimmed  with  blue  and  silver  embroidery,  tall  blue  and  black  hat  with 
white  ostrich  feathers  ;  holding  an  eyeglass  in  right  hand  ;  dark  background  {see  illustration). 

On  canvas,  30  in.  high  by  24  in.  wide. 

Engraved  by  John  Jones. 

*  Exhibited  in  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  Nov.  1903. 


12.    THE  MISSES  EMMA  AND  ELIZABETH  CREWE,  daughters 
of  John  Crewe,  Esq.  gjj^  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  the  Earl  of  Crewe. 

Emma  and  Elizabeth,  daughters  of  John  Crewe,  of  Crewe  Hall,  M.P. 
for  Cheshire,  1734-52,  by  his  wife  Elizabeth,  daughter  of  Richard 
Shuttleworth,  of  Gawthorpe,  Lancashire,  and  Forcett,  Yorkshire.  They 
were  sisters  of  the  first  Baron  Crewe,  and  aunts  of  the  small  boy  whose 
portrait  by  Reynolds  as  Henry  VIIL  is  also  in  this  Exhibition  [see  No.  69). 
Emma  died  unmarried.  Elizabeth  married  John  HinchclifFe,  Bishop  of 
Peterborough,  who  was  famous  in  his  day  as  a  speaker  and  preacher,  being 
noted  for  his  musical  voice  and  fine  delivery.  His  father  kept  a  livery 
stable  in  Westminster,  but  was  able  to  get  his  son  appointed  on  the 
18 


No.  1 1 

MRS.  JORDAN  AS  "  HVPOLITA 
John  Hopp.nek,  R.A. 


foundation  of  Westminster  School.  After  a  brilliant  career  at  Cambridge, 
HinchclifFe  became  a  master  at  Westminster,  where  he  had  John  Crewe  as 
one  of  his  pupils,  with  whom  he  subsequently  travelled,  and  whose  sister 
he  married.  He  became  successively  Head  Master  of  Westminster  School, 
Master  of  Trinity,  and  Bishop  of  Peterborough,  1769.  At  his  death,  in 
1794,  he  left  two  sons  and  three  daughters. 

Nearly  full-length  figures,  life  size,  standing  beneath  trees ;  the  taller  sister  on  the  right 
faces  to  the  left,  and  holds  a  basket  of  flowers  in  her  left  hand  ;  low-necked  dress  of  reddish 
colour  with  blue  scarf ;  the  other  sister  faces  the  spectator,  with  her  left  arm  resting  on  the 
other's  shoulder  and  the  right  across  her  pointing  to  the  right;  white  dress  and  yellowish  scarf ; 
in  the  background  a  large  classical  vase  under  a  tree,  and  an  open  landscape  on  the  left  {see 
illustration). 

On  canvas,  59  in.  high  by  56  in.  wide. 

Painted  about  1766  (?). 

Engraved  by  J.  Dixon,  1782,  J.  Paul,  and  R.  Brookshaw. 
Exhibited  at  the  British  Institution,  1841  and  1866. 
Royal  Academy,  Winter  Exhibition,  1895,  No.  133. 

Reproduced  in  Sir  Walter  Armstrong's  and  Lord  Ronald  Sutherland  Gower's  books  on 
Reynolds. 

13.    MRS.  GLYN.  GEORGE  ROMNEY. 

Lent  by  J.  Pierpont  Morgan^  Esq. 

She  was  Henrietta  Elizabeth  Sackville,  daughter  and  heiress  of  the  Ven. 
Thomas  Hollingberry,  Archdeacon  of  Chichester,  and  married  Colonel 
Thomas  Glyn,  of  the  Coldstream  Guards,  on  September  6^th,  1788.  He 
was  the  fifth  son  of  Sir  Richard  Glyn,  of  Ewell,  Surrey,  the  well-known 
London  banker,  who  was  created  a  baronet  in  1759.  Sir  Richard  repre- 
sented both  London  and  Coventry  in  Parliament  respectively.  Mrs.  Glyn 
died  on  January  13th,  1845.  This  portrait,  for  which  Rom ney  received 
25  guineas,  was  painted  in  1789. 

Bust  to  waist,  life  size,  seated  facing  the  spectator  ;  white  dress  with  muslin  fichu,  open  at 
the  neck,  and  waist  belt  with  three  silver  buckles  ;  powdered  hair  with  blue  ribbon  ;  landscape 
background,  with  tree  on  right  and  sky  on  left  [see  illustration). 

On  canvas,  30  in.  high  by  24.  in.  wide. 

Exhibited  in  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 

19 


14.    WILLIAM  LAWRENCE. 


GEORGE  ROMNEY. 


Lent  by  Lockett  Agnew,  Esq. 

He  was  the  son  of  William  Lawrence,  Esq.,  of  Wimbledon,  and  after- 
wards of  Kirby  Fleatham,  Yorkshire,  M.P.  for  Ripon,  Yorks.,  from  1761 
to  1798.    He  was  born  in  1764,  and  died  at  twenty-one,  in  the  year  1785, 
in  which  this  portrait  was  painted.     The  companion  portrait  of  his  sister 
was  painted  in  the  following  year  {see  No.  10). 

Three-quarter  length,  life  size,  facing  towards  the  left,  seated  in  a  red-covered  chair  ; 
powdered  hair  ;  fawn-coloured  coat  and  waistcoat  of  pink  and  black  stripes,  and  the  gold- 
embroidered  gown  of  an  Oxford  Commoner  ;  black  breeches  and  white  stockings  ;  the  left 
hand  resting  on  the  right,  in  which  there  is  a  gold  coin  ;  in  the  background  a  column  on  the 
right,  and  on  the  left  a  view  of  open  sea  and  sky  {see  illustration). 

On  canvas,  49^  in.  high  by  39-J-in.  wide. 


15.    MRS.   PAYNE  -  GALLWEY    AND   HER   SON  CHARLES 
("PICK-A-BACK").         gjj^  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  J.  Pierpont  Morgan^  Esq. 

She  was  Philadelphia,  daughter  of  Stephen  de  Lancy,  Lieutenant- 
Governor  of  New  York,  a  member  of  a  well-known  Huguenot  family  of 
that  province.  She  married  Stephen  Payne,  of  Tofts  Hall,  Norfolk,  a  son 
of  Ralph  Payne,  Chief-Justice  and  afterwards  Governor  of  St.  Kitts,  and  a 
half-brother  of  Sir  Ralph  Payne,  Lord  Lavington,  the  politician,  M.P.  for 
Shaftesbury,  and  Captain-General  and  Governor-in-Chief  of  the  Leeward 
Islands.  In  1762,  Stephen  Payne  assumed  his  mother's  name  and  the 
arms  of  Gallwey.  He  was  a  member  of  the  Dilettanti  Society,  and  is 
represented  in  the  first  of  the  two  portrait-groups  of  the  members  painted 
by  Sir  Joshua  in  1777-79,  and  is  represented  drinking  from  a  wine  glass. 

Mrs.  Payne-Gallwey  died  in  1785,  at  the  age  of  twenty-seven.  This 
portrait  was  painted  in  1778,  when  she  was  twenty,  and  was  exhibited  in 
the  Royal  Academy  in  the  following  year  as  "  A  Lady  with  a  Child,  three- 
quarters."  Reynolds  received  a  payment  of£']0  for  it  in  December,  1779. 
The  boy  lived  to  enter  the  army,  but  in  1795,  when  returning  from  a 
masquerade  to  his  lodgings  in  Maddox  Street,  he  was  burned  to  death  in 
20 


No.  13 


MRS.  GL^•.\ 
Gkor(;e  RoMNi-.v 


No.  14 


WILLIAM  LAWRENCE 
Gkorge  Romnev 


No.  IS 

MRS.  I'AVNE-t.ALLWEV  AND  HER  SON 
("  FICK-A-BACK  ■  ) 
Siu  Joshua  Reynolds,  I'.R.A. 


4 


bed,  on  April  19th.  According  to  Burke,  Mrs.  Gallwey's  only  child  was  a 
daughter,  Charlotte,  who,  in  1797,  married  John  Moseley,  of  Glemham 
House,  Suffolk. 

Master  "  Gallway  "  sat  to  Reynolds  in  March,  1779,  and  his  mother  in 
June,  1780. 

Bust  to  waist,  life  size,  the  lady  in  profile,  turned  to  the  left  ;  dark  pink  dress,  with  white 
bodice  and  skirt,  a  white  scarf  over  hair,  fastened  under  chin  ;  she  carries  the  child  on  her 
back,  his  head  looking  over  her  left  shoulder,  while  she  clasps  his  left  arm  with  her  right  hand  ; 
he  wears  a  straw  hat  ;  background  of  trees,  with  open  landscape  and  trees  on  the  left  {see 
illustration). 

On  canvas,  30  in.  high  by  24  in.  wide. 

Engraved  by  J.  R.  Smith,  1780,  S.  W.  Reynolds,  S.  Cousins,  and  G.  Zabel,  1874. 
Exhibited  at  the  Royal  Academy,  1779. 
The  International  Exhibition,  1862. 

The  Royal  Academy,  Winter  Exhibition,  1886,  lent  by  Lord  Monson. 

The  Royal  Academy,  Winter  Exhibition,  1895,  No.  31,  lent  by  Mr.  J.  Pierpont 
Morgan. 

The  British  Pavilion,  Paris  International  Exhibition,  1900. 
Sold  at  the  sale  of  Lord  Monson,  of  Gatton  Park,  in  1888. 


16.    MISS  SOPHIA  SCHUTZ.  GEORGE  ROMNEY. 

Lent  by  Lord  Burton. 

Bust  to  waist,  life  size,  seated  ;  facing  towards  the  left  ;  very  dark  green  or  black  bodice, 
cut  low  at  the  neck,  and  trimmed  with  white  ;  grey  skirt  and  waistband,  gold  chain  round 
neck  ;  powdered  hair  with  a  white  band  round  forehead  ;  grey  background. 

On  canvas,  30  in.  high  by  24  in.  wide. 

Engraved  in  mezzotint  by  R.  W.  Macbeth,  A.R.A. 

From  the  collection  of  Mr.  R.  Harding  Newman. 

Exhibited  at  the  Royal  Academy,  Winter  Exhibition,  1889. 

21 


1 7.    DR.  PHILIP  DITCHER. 

THOMAS  GAINSBOROUGH,  R.A. 


Lent  by  Mrs.  L.  Peck. 


I 

f  IK. 


Philip  Ditcher  was  a  well-known  surgeon  who  practised  in  Bath  during 
the  latter  half  of  the  eighteenth  century.  On  August  15th,  1744,  he  was 
elected  one  of  the  surgeons  of  the  Mineral  Hospital  in  that  city,  and  held 
the  appointment  until  his  death.  On  September  6th,  1757,  he  married,  at 
Fulham,  Mary,  eldest  daughter  of  Samuel  Richardson,  the  novelist  and 
author  of  "  Pamela,"  and  his  second  wife,  Elizabeth,  a  sister  of  James 
Leake,  a  bookseller  of  Bath.  Mrs.  Ditcher  was  born  about  1732,  and  a 
portrait  of  her  as  a  little  girl  is  included  in  a  group  of  the  Richardson 
family  by  Joseph  Highmore,  which,  like  the  above  portrait  of  Dr.  Ditcher, 
was  in  the  collection  of  Mr.  Philip  W.  Richardson  Peck,  of  Exmouth. 
In  1774  Dr.  Ditcher  was  elected  Mayor  of  Bath,  in  which  city  he  died  on 
January  loth,  1781.  A  Mr.  Philip  Ditcher  was  buried  at  Weston,  near 
Bath,  in  1745,  and  a  Mrs.  Mary  Ditcher  at  the  same  place  on  March  i6th, 
1764.    These  were  probably  Dr.  Ditcher's  father  and  mother. 

The  portrait,  which  is  not  signed  or  dated,  and  has  not  been  engraved, 
was  painted  in  1779,  and  was  sent  as  a  gift  by  Gainsborough  to  Mrs. 
Ditcher,  whose  husband  had  attended  the  artist's  family  professionally. 
Shortly  afterwards  she  received  the  following  interesting  letter  from  him 
with  reference  to  it  : — 
"  Madam, — 

"  I  am  very  glad  the  Picture  arrived  safe  and  meets  with  your 
approbation.  With  regard  to  the  Price  of  the  Picture  and  Frame  I  must 
acknowledge  myself  overpaid  abundantly  by  my  worthy  Friend's  attention 
to  my  Family  while  we  lived  at  Bath,  and  which  I  shall  ever  remember 
with  gratitude.  If  you  can,  pardon  my  neglect  in  not  paying  the  carriage, 
which  I  fully  intended  doing,  but  for  the  hurry  I  was  in  the  Day  it  went 
away,  you  may  rest  assured.  Madam,  that  what  remains  unpaid  is  from  us 
to  you.    My  Family  join  in  best  Respects, 

"  And  I  remain,  your  most  obedient  Servt., 

"  Tho.  Gainsborough. 

"Bath,  July  31st,  1779. 
"  Mrs.  Ditcher, 

"  Lansdown  Road, 
"Bath." 

Gainsborough  settled  in  London  in  1774,  so  that  the  portrait  was  either 
painted  during  a  short  visit  to  Bath  in  1779,  or  had  been  returned  to  him 
22 


No.  17 


DR.  DITCHER 
TuOiMAS  Gainsbiiroi  lai,  R..\. 


No.  1 8 


LADY  WILLOUGHBV  DE  BROKE 
Georce  Romnev 


for  alteration  or  repair.  In  the  style  of  its  painting  it  seems  to  point  to  an 
earlier  date  than  1779. 

Three-quarter  length,  life  size,  standing,  facing  spectator  ;  head  slightly  turned  towards 
the  left  ;  plum-coloured  coat  with  a  white  neckcloth  and  ruffs  ;  white  wig  ;  left  hand  thrust 
inside  coat,  and  holding  a  black  hat  in  the  right  ;  landscape  background  with  trees  and  sky 
{see  illustration). 

On  canvas,  50  in.  high  by  40  in.  wide. 

18.  LADY  WILLOUGHBY  DE  BROKE. 

GEORGE  ROMNEY. 

Lent  by  Lord  Willoughby  de  Broke. 

She  was  Lady  Louisa  North,  daughter  of  Francis,  first  Earl  of  Guilford, 
by  his  second  wife,  Elizabeth,  Viscountess-Dowager  Lewisham,  and  sister 
of  the  celebrated  minister,  Lord  North,  Prime  Minister  from  1770  to  1781. 
She  married,  in  1761,  John  Peyto,  fourteenth  Baron  Willoughby  de  Broke, 
and  died  in  1798.  {See  No.  62  for  her  portrait^  by  Zoffany^  in  a  group  which 
includes  her  husband  and  their  three  children^ 

Three-quarter  length,  life  size,  seated,  facing  towards  the  right,  with  head  turned  to 
spectator  ;  powdered  hair,  with  white  and  gold  head  dress,  and  white  bow  under  chin  ;  light 
canary-coloured  dress,  cut  low,  and  sleeves  lined  with  white  silk  ;  blue  and  gold  sash,  purple- 
red  velvet  cloak  over  left  arm  and  spread  out  over  the  seat  behind  her  ;  left  arm  resting  on  a 
pedestal,  and  holding  a  book,  the  right  hanging  straight  down  and  grasping  a  fold  of  her  dress  ; 
seated  beneath  some  trees,  with  sky  and  open  landscape  on  the  left  {see  illustration). 

On  canvas,  50  in.  high  by  40  in.  wide. 

Reproduced  in  "  The  Art  Journal,"  December,  1903. 

19.  MR.  ROBERT  CHILD.  GEORGE  ROMNEY. 

Lent  by  the  Earl  of  Jersey^  G.C.B. 

Mr.  Robert  Child,  the  London  banker,  of  Osterley  Park,  Isleworth, 
Middlesex,  whose  only  daughter  and  heiress  eloped  to  Gretna  Green  with 
the  Earl  of  Westmorland  {see  note  to  No.  3 1 .  For  the  portrait  of  his  wife  see 
No.  20).  Mr.  Child  and  his  daughter  sat  to  Sir  Joshua  Reynolds  in  May, 
1772,  and  March  and  April,  1773,  and  a  whole  length  of  Miss  Child  was 
exhibited  in  the  Royal  Academy,  1773,  as  the  portrait  of  a  young  lady.  A 
newspaper  of  the  time  named  it  "  Sir  Joseph  Child's  Daughter,"  but  this 

23 


appears  to  be  incorrect,  as  a  full  length  of  Mr.  Robert  Child,  with  a  gun, 
and  one  of  Miss  Child  with  a  dove  in  a  cage,  painted  1772-73,  are  in  the 
collection  of  the  Earl  of  Jersey. 

Bust  to  waist,  life  size,  facing  right,  head  slightly  turned  to  spectator  ;  powdered  hair  ; 
green  coat  with  gold  lace,  white  waistcoat,  into  which  the  left  hand  is  thrust,  white  neckerchief. 

On  canvas,  30  in.  high  by  24  in.  wide. 

Exhibited  at  the  Royal  Academy,  Winter  Exhibition,  1888,  No.  117. 

20.    MRS.  ROBERT  CHILD,  afterwards  Ladie  Ducie. 

GEORGE  ROMNEY. 

Lent  by  the  Earl  of  Jersey,  G.C.B. 

Sarah,  wife  of  Robert  Child,  of  Osterley  Park  {see  Nos.  19  and  31).  She 
was  a  daughter  of  Gilbert  Jodrell,  the  third  son  of  Paul  Jodrell,  of  Duffield, 
Derbyshire.  Her  cousin.  Sir  Richard  Jodrell,  F.R.S.,  M.P.,  of  Norfolk, 
was  created  a  Baronet  in  1783.  After  the  death  of  Mr.  Child  she  married, 
on  June  i8th,  1791,  as  his  second  wife,  Francis  Reynolds,  third  Baron 
Ducie  (i 739-1 808),  a  captain  in  the  Royal  Navy,  who  likewise  assumed  the 
name  of  Moreton.    Lady  Ducie  died  on  May  23rd,  1793. 

Bust  to  waist,  life  size,  face  in  profile  to  the  left  ;  powdered  hair,  with  a  white  gauze  scarf 
fastened  under  the  chin  ;  black  dress  with  white  front  ;  her  right  arm  rests  upon  a  pedestal  and 
the  hand  holds  a  book  (?)  {see  Illustration). 

On  canvas,  join,  high  by  24  in.  wide. 

Exhibited  at  the  Royal  Academy,  Winter  Exhibition,  1888,  No.  30. 


21.    THOMAS  BLIGH.  '  GEORGE  ROMNEY. 

Lent  by  the  Corporation  of  Manchester. 

Probably  Thomas  Cherburgh  Bligh,  son  of  the  Very  Rev,  Robert  Bligh, 
Dean  of  Elphin,  and  nephew  of  John,  first  Earl  of  Darnley.  He,  no  doubt, 
was  christened  Cherburgh  in  honour  of  his  uncle.  General  Bligh,  who 
captured  the  town  of  Cherbourg,  and  left  a  large  fortune  of  100,000  to 
his  brother  the  Dean.  Thomas  Bligh  married  his  cousin,  Theodosia, 
second  daughter  of  John,  third  Earl  of  Darnley,  M.P.  for  Maidstone,  in 
24 


\o.  20 


MRS.  ROI^EKT  ClIILO 
Gi:oiu;i-:  RoiMnk\ 


\o.    2  2 

ELIZABETH,  \  lSCOLI.\TESS  l-OLKESTONE 
Thomas  IIainsboroi  c.ii,  R.A. 


I790>  and  died  in  1830,  while  his  wife  died  in  1840.  His  sister,  Frances 
Theodosia,  eldest  daughter  of  the  Dean,  married  Robert,  second  Earl  of 
Roden,  K.P,,  on  February  5th,  1788. 

Bust  to  waist,  life  size,  full  face,  head  slightly  inclined  to  right  ;  wig  or  powdered  hair  ; 
fawn  coloured  coat,  white  neckcloth  ;  arms  resting  on  a  table  ;  a  book  in  his  left  hand  with 
fingers  inserted  between  the  leaves  ;  plain  background. 

On  canvas,  30  in.  high  by  24  in.  wide. 

Painted  in  1782-3. 

Formerly  in  the  possession  of  Mr.  C.  R.  Hamilton,  of  Hamwood,  co.  Meath. 


22.    ELIZABETH,  VISCOUNTESS  FOLKESTONE. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  Mrs.  George  Holt. 

Elizabeth,  eldest  daughter  of  Robert,  Lord  Romney,  was  born  on 
August  15th,  171 1,  and  married,  on  April  21st,  1741,  as  his  second  wife, 
Sir  Jacob  de  Bouverie,  third  Baronet,  who  was  elevated  to  the  peerage 
in  1747  by  the  titles  of  Lord  Longford  and  Viscount  Folkestone.  His 
first  wife  was  Mary,  daughter  and  sole  heir  of  Bartholomew  Clarke, 
of  Hardingstone,  co.  Northampton,  and  Delapre  Abbey,  who  died  on 
November  24th,  1739.  Viscountess  Folkestone  had  one  son,  Philip 
Bouverie-Pusey,  born  October  8th,  1746,  who  assumed  the  name  of 
Pusey.  He  married,  in  1798,  Lucy,  daughter  of  Robert,  fourth  Earl  of 
Harborough,  and  widow  of  Sir  Thomas  Carr,  Bart.,  and  one  of  his  sons 
was  the  celebrated  Dr.  Edward  Pusey,  Canon  of  Christ  Church,  and  Regius 
Professor  of  Hebrew  at  Oxford.  Viscount  Folkestone  died  on  February 
17th,  1761,  and  was  succeeded  by  his  eldest  son  William,  who  was  created 
Earl  of  Radnor  in  1765.    The  Viscountess  died  on  September  25th,  1782. 

Viscount  Folkestone  was  the  first  President  of  the  Society  of  Arts.  His 
portrait  was  painted  by  Gainsborough  for  the  Society  in  1776  as  a 
companion  to  the  portrait,  by  Sir  Joshua  Reynolds,  of  Lord  Romney,  the 
second  President.  It  was  not  painted  from  life,  but  from  a  portrait  of  him 
by  Hudson.  Gainsborough  received  for  it  one  hundred  guineas,  that 
being,  in  the  artist's  own  words,  "  the  price  he  usually  charged  for  a  full- 
length  picture."  The  portrait  seems  to  have  given  satisfaction,  for, 
succeeding  the  order  for  the  payment  of  one  hundred  guineas,  is  another 
motion  to  the  effect  that  "  the  thanks  of  the  Society  be  given  to  Mr. 

25 


Gainsborough  for  his  excellent  execution  of  the  picture  of  Lord  Folkestone, 
and  he  be  informed  that  the  Society  are  highly  satisfied  with  his  masterly 
performance." 

Three-quarter  length,  life  size,  slightly  turned  to  the  right  ;  grey  hair  covered  with  a  thin  grey 
gauze  scarf,  which  falls  over  the  right  shoulder  and  arm  ;  white  silk  dress  trimmed  with  lace  ; 
right  arm  resting  on  a  pedestal  below  a  pillar,  the  right  hand  clasping  the  left  above  the  wrist  ; 
dark  background  [see  illustration). 

On  canvas,  50  in.  high  by  40  in.  wide. 

Purchased  from  the  branch  of  the  Bouverie  family  for  whom  it  was  painted,  "^j"-  L^-^^^^^'^^  ^ 
Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  Nov.  1903. 


23.    MISS  ROSAMOND  CROKER. 

SIR  THOMAS  LAWRENCE,  P.R.A. 

Lent  by  J.  Pierpont  Morgan ^  Esq. 

Rosamond  Hester  Elizabeth,  daughter  of  William  Pennell,  British 
consul-general  at  the  Brazils,  and  sister-in-law  and  adopted  daughter  of 
John  Wilson  Croker,  the  well-known  politician  and  essayist  (1780-1857), 
who  was  Secretary  to  the  Admiralty  in  1 809,  and  one  of  the  original 
contributors  to  the  Quarterly  Review.  He  was  the  personal  friend  of  the 
Prince  of  Wales,  afterwards  George  IV.,  who  was  so  fond  of  children  that 
"  Nony,"  which  was  the  pet  name  by  which  the  King  always  called  Miss 
Croker,  was  never  absent  from  the  juvenile  parties  and  balls  at  the  palace. 
She  married  Sir  George  Barrow,  C.M.G.,  of  Ulverston,  second  baronet, 
in  1832. 

This  portrait  was  painted  in  1827.  Lawrence  had  painted  that  of  Croker 
himself  two  years  previously.  The  Dowager  Lady  Barrow  is  probably  the 
only  remaining  sitter  of  Lawrence's  still  living  (1903). 

Half  length,  life  size,  facing  the  spectator  ;  dark  hair  in  ringlets  ;  low-necked  white  satin 
dress  with  transparent  gauze  sleeves  ;  holding  in  the  right  hand  a  single  gold  eyeglass  which  is 
suspended  by  a  gold  chain  round  the  neck  ;  gold  bracelet  on  right  arm,  and  brooch  with  pendant 
pearl  ;  dark  background,  with  a  pillar  on  left  and  some  trees  on  the  right  [^see  illustration). 

On  canvas,  36  in.  high  by  24^  in.  wide. 

Engraved  by  Samuel  Cousins,  R.A.,  and  H.  T.  Greenhead. 

Exhibited  at  the  Royal  Academy,  1827. 

Royal  Academy,  Winter  Exhibition,  1895,  No.  26. 

Royal  Pavilion,  Paris  International  Exhibition,  1900. 
26 


No.  23 

MISS  CROKER 
Sir  Thomas  L.wvrencic,  P 


No.  24 


RICHARD  HL  RD,  BISHOP  OF  WORCESTER 
Thomas  Gainsboroi  R.A. 


24.    RICHARD  HURD,  BISHOP  OF  WORCESTER. 

THOMAS  GAINSBOROUGH,  R.A. 


Lent  by  the  Bishop  of  Worcester, 


Richard  Hurd,  the  son  of  a  farmer,  was  born  at  Congreve,  in  Stafford- 
shire, January  13th,  1720.  He  was  educated  at  Brewood  Grammar  School, 
and  Emmanuel  College,  Cambridge,  and  ordained  a  priest  in  1744.  At 
Cambridge  he  formed  a  close  friendship  with  Sir  Edward  Littleton,  as  well 
as  with  William  Mason  and  Thomas  Gray.  He  wrote  various  pamphlets 
and  books,  including  an  edition  of  Horace's  "  Ars  Poetica,"  in  1749,  and 
in  the  following  year  was  appointed  Whitehall  preacher.  In  1757  he  was 
rector  of  Thurcaston,  Leicestershire,  and  in  that  year  edited  Warburton's 
"Remarks  on  Hume's  '  Natural  History  of  Religion.'  "  In  1759  he 
published  a  volume  of  "  Moral  and  Political  Dialogues,"  in  which  he  intro- 
duced historical  personages  as  interlocutors,  while  in  1762  his  reputation 
was  further  enhanced  by  a  volume  of  letters  on  "  Chivalry  and  Romance." 
In  1765  he  was  appointed  preacher  in  the  chapel  in  Lincoln's  Inn.  Two 
years  later  he  was  collated  to  the  Archdeaconry  of  Gloucester,  graduated 
D.D.  in  1768,  and  appointed  to  deliver  the  first  Warburton  lectures, 
which  were  afterwards  published  and  became  very  popular.  On  December 
30th,  1774,  he  was  nominated  to  the  see  of  Lichfield  and  Coventry,  and, 
being  in  high  favour  with  the  king,  was  appointed  preceptor  to  the  Prince 
of  Wales  and  Duke  of  York  in  1776.  In  178 1  he  was  translated  to 
the  see  of  Worcester,  and  in  1783  was  offered  the  primacy,  which  he 
declined,  "as  a  charge  not  suited  to  his  temper  and  talents."  In  August, 
1788,  he  was  visited  at  Hartlebury  Castle,  and  at  the  Palace,  Worcester, 
by  the  King,  Queen,  and  other  members  of  the  royal  family.  He  died, 
unmarried,  May  i8th,  1808,  and  was  buried  in  Hartlebury  churchyard,  and 
a  cenotaph  was  placed  to  his  memory  in  Worcester  Cathedral.  An 
engraving  of  his  portrait,  by  Gainsborough,  is  prefixed  to  the  collected 
edition  of  his  works.  There  are  two  other  portraits  of  him  by  Gainsborough  ^o^We^  a^ur^v-, 
in  the  Royal  collections.  The  one  exhibited  here  was  painted  in  1781,  ^rr^  ^  ai- 
the  year  in  which  he  became  Bishop  of  Worcester.  ^^^ov^-wmm^^  OfVb^ 

Half  length,  life  size,  full  face  ;  wearing  his  Bishop's  robes  and  a  white  wig  {see  illusiiation).    ^  () '/Ha<^ 

On  canvas,  oval  in  a  square,  30  in.  high  by  24J  wide.  Saij  ,  ^'-j'^^  J  ■ 

Inscribed  on  the  front  :  "Hurd,  aged  61,  1781-1808,"  and  on  the  back  :  "Given  by 
Richard  Hurd,  the  Bishop's  nephew." 

27 


2  5.    JAMES  HARROWER,  of  Inzievar,  with  his  Wife  and  Son. 

SIR  HENRY  RAEBURN,  R.A. 


Lent  by  Charles  George^  Esq.^  S.S.C. 

Raeburn  also  painted  a  half-length  portrait  of  Mr.  Harrower,  seated  in 
an  armchair,  with  his  hands  clasped  in  front  of  him. 

Three-quarter  length,  life  size  ;  three  figures  seated  on  a  green  bench  underneath  some 
trees.  Mr.  Harrower,  on  the  right,  and  his  wife,  in  the  centre,  are  facing  towards  the  left, 
with  heads  turned  towards  the  spectator  ;  the  boy,  on  the  left,  facing  the  spectator,  turns  his 
head  towards  his  parents.  Mr.  Harrower  wears  a  white  wig,  dark  brown  coat,  white  neckcloth, 
drab  breeches  and  white  stockings  ;  hands  clasped  with  thumbs  pointing  upwards.  Mrs. 
Harrower  has  grey  or  powdered  hair,  with  a  white  turban  or  cap,  white  dress  open  at  the 
throat,  and  blue  sash  ;  hands  folded  in  her  lap.  The  son  has  dark  hair  curling  upon  his 
shoulders,  and  is  dressed  in  a  dark  blue  coat  with  gilt  buttons,  white  waistcoat,  and  holds  an 
open  book  in  his  right  hand,  while  the  left  is  thrust  inside  his  waistcoat  [lee  illustration). 

On  canvas,  51  in.  high  by  41  in.  wide. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  Nov.  1903. 


26.    JOHN  TAYLOR,  of  Moseley  Hall. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  George  W.  T ay  lor ^  Esq. 

John  Taylor,  of  Bordesley  Park  and  Moseley  Hall,  Birmingham  (1738- 
18 14),  who  married,  in  1778,  Sarah,  eldest  daughter  of  Samuel  Skey,  of 
Spring  Grove,  Worcester.  He  was  the  son  of  John  Taylor,  of  Bordesley 
Park  (171 1-1775),  who  married  Miss  Mary  Baker  in  1734,  and  was  High 
Sheriff"  of  Warwickshire  in  1756.  The  High  Sheriff  was  one  of  the  most 
notable  men  in  Birmingham  in  the  eighteenth  century.  "  Among  those  who 
worked  in  brass  in  this  early  period  there  was  one  whose  taste  did  much  to 
bring  about  a  greater  degree  of  artistic  merit  than  had  hitherto  characterised 
the  products  of  Birmingham  manufacturers.  This  was  John  Taylor,  whose 
acquaintance  Dr.  Johnson  had  made  during  his  residence  in  the  town  in 
1733,  and  who,  from  this  chance  acquaintanceship,  gained  a  niche  in 
Boswell's  Life  of  Johnson^  being  mentioned  therein  as  one  '  who  by  his 
ingenuity  in  mechanical  inventions,  and  his  success  in  trade,  acquired  an 
immense  fortune.'  He  was  born  in  the  early  years  of  the  eighteenth 
28 


No.  25 

JAMES  HARROWER  OF  INZIEVAR 
WITH  HIS  WIFE  AND  CHILD 
Sir  IIknkv  Raebirn,  R.A. 


No.  27 


MRS.  jOIIX  TA^'LOR 

TlIO.MAS   ("i.\INMK>UOl  (.11,  R.A. 


century,  and  from  being  a  mere  artisan  he  rose  by  his  ability  and  taste  to 
become  one  of  the  leading  manufacturers  of  the  town.  Hutton  calls  him 
*'  the  Shaicespear  or  Newton  of  his  day,"  and  says  of  him  :  "  To  this 
uncommon  genius  we  owe  the  gilt  button,  and  japanned  and  gilt  snuff- 
boxes, at  which  one  servant  earned  three  pounds  ten  shillings  per  week,  by 
painting  them  at  a  farthing  each.  In  his  shop  were  weekly  manufactured 
buttons  to  the  amount  of  ;^8oo,  exclusive  of  other  valuable  productions. 
One  of  the  present  nobility,  of  distinguished  taste,  examining  the  works 
with  the  master,  purchased  some  of  the  articles,  among  others  a  toy  of 
eighty  guineas  value,  and  while  paying  for  them  observed,  with  a  smile, 
'  he  plainly  saw  he  could  not  reside  in  Birmingham  for  less  than  two 
hundred  pounds  a  day.'  "  (The  Making  of  Birmingham,  R.  K.  Dent.)  In 
1765,  together  with  Mr.  Sampson  Lloyd,  he  founded  Taylor  and  Lloyd's 
Bank  in  Birmingham,  now  the  well-known  Lloyds  Bank,  Limited. 

Half  length,  life  size,  facing  spectator,  head  turned  slightly  to  right  ;  powdered  hair  ;  dark 
blue  coat  with  white  waistcoat  and  neckcloth  ;  plain  background. 

On  canvas,  oval,  28  in.  high  by  23  in.  wide. 

Reproduced  in  "Thomas  Gainsborough" — The  Popular  Library  of  Art,  1903. 


27.    MRS.  JOHN  TAYLOR. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  George  W.  Taylor,  Esq.  cJL  • 

Sarah,  eldest  daughter  of  Samuel  Skey,  of  Spring  Grove,  Worcester,  ^ 
who  married,  in  1778,  John  Taylor,  of  Bordesley  Park  and  Moseley  Hall, 
Birmingham.    {For  his  portrait  see  No.  26.) 

Half  length,  life  size,  facing  spectator,  head  turned  to  the  left  ;  powdered  hair,  with 
transparent  gauze  veil  which  falls  over  right  shoulder  ;  low-necked  dress  of  yellow  satin,  with 
pearls  on  the  sleeves  and  front  of  bodice  ;  pale  blue  and  gold  sash  ;  plain  background  {see 
illustration). 

On  canvas,  oval,  28  in.  high  by  23  in.  wide. 

Reproduced  in  "Thomas  Gainsborough" — The  Popular  Librarj'  of  Art,  1903. 

Reproduced  in  photogravure  in  "The  Burlington  Magazine  for  Connoisseurs,"  November, 
1903. 

29 


28.    LADY  ANSTRUTHER.     SIR  JOSHUA  REYNOLDS,  P.R.A. 


Lent  by  the  Corporation  of  Manchester. 

Janet,  daughter  of  James  Fall,  of  Dunbar,  who  married,  October  4th, 
1750,  Sir  John  Anstruther,  third  Baronet,  of  Anstruther  (17 18-1799). 
She  died  February  17th,  1802.  Her  sons  Philip  and  John  were  fourth 
and  fifth  Baronets.  The  latter  was  a  distinguished  lawyer  (1753-1811), 
and  was  created  a  Baronet  of  Great  Britain  in  1798,  when  constituted  Chief 
Justice  of  the  Supreme  Court  of  Judicature  in  Bengal.  Sir  John  and  Lady 
Anstruther  both  sat  to  Reynolds  in  March,  1761. 

Half  length,  full  size,  facing  spectator,  with  head  turned  to  the  left  ;  pink  low-necked 
dress,  with  a  bunch  of  flowers  in  the  bodice  ;  dark  hair  and  black  ribbon  round  neck  ;  sash  of 
coloured  embroidery,  dark  background. 

On  canvas,  30  in.  high  by  24  in.  wide. 


29.    ELIZABETH  HOWARD,  DUCHESS  OF  RUTLAND. 

JOHN  HOPPNER,  R.A. 

Lent  by  W.  H.  Lever^  Esq. 

Lady  Elizabeth  Howard  was  the  second  daughter  of  Frederick,  fifth  Earl 
of  Carlisle,  and  of  his  wife,  Margaret  Caroline,  daughter  of  Granville 
Leveson,  first  Marquis  of  Stafford,  K.G.  She  married,  on  April  22nd, 
1799,  John  Henry,  fifth  Duke  of  Rutland,  K.G.,  and  Lord-Lieutenant  of 
Leicestershire.  The  Duke  was  Recorder  of  Cambridge,  Grantham  and 
Scarborough,  and  a  trustee  of  the  British  Museum.  The  Duchess  died 
on  November  29th,  1825.  Her  second  daughter.  Lady  Emmeline 
Charlotte  Elizabeth  Manners,  was  distinguished  as  a  poetess,  and  married, 
in  I  83  I,  the  Hon.  Charles  Stuart  Wortley. 

Three-quarter  length,  life  size,  facing  spectator,  with  head  turned  to  the  left  ;  seated  under 
a  tree,  and  leaning  against  a  stone  pedestal  ;  brown  hair,  with  blue  ribbon  ;  grey-blue  low- 
necked  dress  with  short  sleeves  ;  the  left  arm  resting  on  a  corner  of  the  pedestal,  and  the  right 
arm  hanging  down  ;  background  of  dark  russet  autumnal  foliage,  with  sky  and  mountainous 
landscape  on  the  left  {see  illustration).  1      %         1     tt  t 

On  canvas,  50  in.  high  by  40  in.  wide.  I 

Exhibited  in  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 

Glasgow  International  Exhibition,  1901,  No.  33. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  Nov.  1903. 
30 


ELIZABETH  HOWARD,  Dl'CHESS  OF  RUTLAND 
John  Hopi'nkr,  R.A. 


No. 


iMISS  FRANKS 
Sir  Josiil  a  Rhvnoliis,  P.R.A. 


30.    MISS  FRANKS. 


SIR  JOSHUA  REYNOLDS,  P.R.A. 


Lent  by  Miss  Turner. 

Daughter  of  Aaron  Franks.  She  sat  to  Reynolds  in  March,  1766,  her 
sister,  who  had  married  Mr.  Moses  Franks,  sitting  in  the  same  year.  Her 
brother-in-law,  Moses  Franks,  sat  to  the  same  painter  in  March,  1761. 

Half  length,  life  size,  full  face,  figure  turned  to  right;  powdered  hair;  white  silk  dress, 
open  at  the  throat,  wiih  lace  work  down  the  front  ;  jacket  or  cloak  of  white  silk,  trimmed  with 
lace,  over  right  shoulder ;  necklet  of  pearls  and  string  of  dark  coloured  beads  ;  background  of 
dark  blue  sky  and  the  tops  of  distant  trees  {see  illustration). 

On  canvas,  an  oval  in  a  square,  29  in.  high  by  24.  in.  wide. 

Painted  in  1766. 


31.    JOHN   FANE,  LORD   BURGHERSH,  afterwards  tenth  Earl 
of  Westmorland.  GEORGE  ROMNEY. 

Lent  by  Lord  Burton. 

John  Fane,  Lord  Burghersh,  tenth  Earl  of  Westmorland,  K.G.,  was 
the  eldest  son  of  John,  ninth  Earl,  and  of  Augusta,  daughter  of  Lord 
Montague  Bertie,  and  grand-daughter  of  Robert,  first  Duke  of  Ancaster. 
He  was  born  on  June  ist,  1759.  He  was  educated  at  Charterhouse  and 
Emmanuel  College,  Cambridge,  and  succeeded  to  the  earldom  at  the  age  of 
I  5.  While  at  Cambridge  he  formed  a  friendship  with  William  Pitt,  which 
lasted  through  life.  In  1789  he  accepted  office  as  joint  paymaster-general, 
and  was  sworn  a  member  of  the  Privy  Council.  He  was  Lord-Lieutenant 
of  Ireland  from  1790  to  1795,  and  created  Master  of  the  Horse,  which 
post  he  retained  until  1798,  when  he  became  Lord  Privy  Seal.  He 
remained  in  office,  with  the  exception  of  a  break  of  a  few  months,  for 
nearly  thirty  years,  finally  resigning  in  1827,  when  the  Earl  of  Liverpool's 
administration  came  to  an  end.  He  was  created  a  Knight  of  the  Garter  in 
1793.  For  many  years  before  his  death,  on  December  15th,  1841,  he  had 
retired  from  political  life,  and  during  the  last  year  or  two  became  entirely 
blind. 

31 


His  first  marriage  was  a  romantic  one.  In  1782  he  eloped  with  Sarah 
Anne,  only  daughter  of  Robert  Child,  the  rich  London  banker,  of  Osterley 
Park,  Middlesex.  The  lovers  succeeded  in  reaching  Gretna  Green,  where 
they  were  married  on  May  20th.  The  bulk  of  Mr.  Child's  immense 
fortune,  including  Osterley  Park,  which  had  been  purchased  by  Sir  Francis 
Child,  banker  and  Lord  Mayor  of  London,  about  171 1,  was  left  to  the 
eldest  daughter  of  this  marriage.  Lady  Sarah  Sophia  Fane,  who  married  the 
fifth  Earl  of  Jersey  in  i  804.  Lady  Westmorland  died  on  November  9th, 
1793,  and  the  Earl  married  secondly,  on  March  24th,  1800,  Jane,  daughter 
and  co-heir  of  R.  H.  Saunders,  M.D.,  who  died  on  March  26th,  1857. 

Two  fine  three-quarter  length  portraits  of  the  Earl  and  Countess,  the 
former  in  military  uniform,  painted  by  Romney  about  1795,  according  to 
the  Rev.  John  Romney,  but  probably  earlier,  are  in  the  collection  of  the 
Earl  of  Jersey  at  Osterley,  as  well  as  of  the  Countess's  father  and  mother 
(see  Nos.  19  and  20).  An  old  label  on  the  back  of  the  picture  says  :  — 
"Lord  Burghersh,  born  1784,  died  1859.  In  1841  Envoy  to  the  Court  of 
Prussia  ;  in  1851  Envoy  to  the  Court  of  Austria."  On  the  front,  very 
roughly  and  badly  painted,  "John  Fane,  Baron  Burghersh,"  and  a  date 
looking  something  like  1793  {?). 

Full-length  figure  of  a  little  boy  in  a  yellow  "skeleton"  suit,  turned  back  at  the  throat, 
with  white  frilled  collar.  He  stands  facing  the  spectator,  his  right  foot  advanced,  his  right 
hand  held  out  to  a  small  dog,  who  looks  up  expectant.  In  his  left  hand  he  holds  his  black 
beaver  hat.  Background  of  foliage.  To  the  left  a  stone  pedestal,  to  the  right  a  glimpse  of 
undulating  landscape  with  a  river. 

On  canvas,  50  in.  high  by  33^  in.  wide. 

Exhibited  at  the  Grosvenor  Gallery,  Winter  Exhibition,  1889,  No.  146. 


32.    MARIANNE  AND  AMELIA,  daughters  of  Sir  Thomas  Frankland. 

JOHN  HOPPNER,  R.A. 

^^^^^^j^^j^  1^  Lf«/  by  Sir  Charles  Tennant^  Bart. 

Daughters  of  Sir  Thomas  Frankland,  fifth  baronet,  of  Thirkleby,  York- 
shire, a  naval  officer  of  high  reputation,  and  Admiral  of  the  White,  who 
commanded  a  frigate  on  the  Bahama  Station,  capturing  many  vessels  and 
32 


No.  32 


THE  DAUGHTERS  OE  SH-l  THOMAS  ERANKLAXD 

jOHN   HOPPNER,  R.A. 


privateers,  1740-45,  and  afterwards  Commodore  at  Antigua,  and  M.P.  for 
Thirslc  from  1749  until  his  death  in  1784. 

He  married,  in  1743,  Sarah  Rhett,  grand-daughter  of  the  chief-justice  of 
the  province  of  South  Carolina,  and  had  nineteen  children,  of  whom  seven 
daughters  grew  up. 

The  following  inscription,  of  a  rather  later  date  than  the  painting,  is 
on  the  front  of  the  picture  : — "  Marianne  and  Amelia,  daughters  of 
Sir  T.  Frankland.    Ob.  1795  and  1800. — Hopner." 

It  is  interesting  before  so  fine  a  specimen  of  Hoppner's  work  to  recall 
what  was  the  artist's  own  ideal  for  his  portraits  of  beautiful  women.  "  The 
ladies  of  Lawrence,"  he  said,  "  show  a  gaudy  dissoluteness  of  taste,  and 
sometimes  trespass  on  moral,  as  well  as  professional,  chastity."  For  his 
own  he  claimed,  by  implication,  purity  of  look  as  well  as  purity  of  style. 
This  sarcastic  remark  found  wings  in  a  moment,  and  flew  through  all 
coteries  and  through  both  courts  ;  it  did  most  harm  to  him  who  uttered  it  ; 
all  men  laughed  and  then  began  to  wonder  how  Lawrence,  limner  to  perhaps 
the  purest  court  in  Europe,  came  to  bestow  lascivious  looks  on  the  meek 
and  sedate  ladies  of  quality  about  St.  James's  and  Windsor,  while  Hoppner, 
limner  to  the  young  prince,  who  loved  mirth  and  wine,  the  sound  of  the 
lute,  and  the  music  of  ladies'  feet  in  the  dance,  should,  to  some  of  its 
gayest  and  giddiest  ornaments,  give  the  simplicity  of  manner  and  purity  of 
style  which  pertained  to  the  quaker-like  sobriety  of  the  other.  Nor  is  it 
the  least  curious  part  of  the  story  that  the  ladies,  from  the  moment  of  the 
sarcasm  of  Hoppner,  instead  of  crowding  to  the  easel  of  him  who  dealt  in 
the  loveliness  of  virtue,  showed  a  growing  preference  for  the  rival  who 
"  trespassed  on  moral  as  well  as  professional  chastity." — Allan  Cunningham, 
V.  247. 

Two  full-length,  life-size  figures,  seated  on  the  ground,  facing  to  the  left,  with  a  brown 
and  white  dog  sleeping  at  their  feet  ;  both  dressed  in  white,  low-necked  dresses.  The  one  on 
the  right  in  the  front  holds  in  her  right  hand  a  red-covered  folio  of  drawings,  which  rests  upon 
her  knee — the  left  arm  hanging  down  with  a  drawing  crayon  in  the  hand.  She  wears  a  white 
turban  and  blue  sash.  The  second  girl  has  her  left  arm  round  her  sister's  neck,  holding  a  roll 
of  paper  in  her  hand  ;  blue  sash  and  ribbon  in  her  hair  ;  both  have  brown  ringlets  ;  landscape 
background,  with  trees  on  the  right,  and  on  the  left  mountains,  part  of  a  lake  or  river,  and  a 
small  waterfall  {^see  Illustration). 

On  canvas,  59  in.  high  by  48  in.  wide. 

Engraved  by  William  Ward  in  1797  under  the  title  of  "The  Sisters,"  an  example  of 
which  recently  fetched  500  guineas. 

Exhibited  at  the  Royal  Academy,  1795. 


33 


33-    THOMAS  FANE. 


GEORGE  ROMNEY. 


Lent  by  Lord  Burton. 

Second  son  of  John,  ninth  Earl  of  Westmorland,  and  of  his  wife 
Augusta,  daughter  of  Lord  Montague  Bertie,  and  grand-daughter  of 
Robert,  first  Duke  of  Ancaster  ;  and  brother  of  Lord  Burghersh,  the 
tenth  Earl  {see  No.  31).  He  was  born  on  July  6th,  1760.  He  became 
a  field  officer  in  the  army,  and  married,  in  1789,  Miss  Anne  Lowe.  He 
died  in  1807.  His  eldest  son,  John  Thomas  Fane,  was  a  Lieutenant- 
Colonel  in  the  army  and  M.P.  for  Lyme  Regis. 

An  old  label  on  the  back  of  the  picture  says  :  "John  Fane,  Esq.,  M.P. 
for  Oxfordshire,  born  1795,  died  1850." 

Full-length  of  a  child  in  a  long-skirted  white  frock,  fastened  round  the  waist  with  a  broad 
green  sash.  He  rests  his  left  hand  on  a  red-covered  chair,  the  colour  of  which  is  repeated  in  his 
red  morocco  shoes.  His  right  hand  is  extended  to  caress  a  large  Newfoundland  dog,  who  sits  in 
front  of  him  with  upturned  head.  On  the  right,  behind,  a  dark  curtain  ;  on  the  left,  a  distant 
landscape. 

On  canvas,  50  in.  high  by  33^  in.  wide. 

Exhibited  at  the  Grosvenor  Gallery,  Winter  Exhibition,  1889,  No.  14.2. 


34.    LADY  CAROLINE  PRICE. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Julius  Wernher^  Esq. 

Lady  Caroline  Carpenter  was  the  youngest  daughter  of  George,  first  Earl 
of  Tyrconnel.  She  married,  on  April  28th,  1774,  Uvedale  T.  Price,  of 
Foxley,  Herefordshire,  who  was  made  a  Baronet  in  1828.  Price  was  a 
great  landscape  gardener,  and  opposed  the  fashionable  manner  of  laying  out 
grounds,  as  "  at  variance  with  all  the  principles  of  landscape  painting,  and 
with  the  practice  of  all  eminent  masters,"  arguing  in  favour  of  natural  and 
picturesque  beauty.  These  views  he  published  in  1794,  under  the  title  of 
"  An  Essay  on  the  Picturesque,"  of  which  an  enlarged  edition  appeared  in 
1796,  a  German  translation  in  1798,  and  a  further  edition,  in  three  volumes, 
34 


No.  34 


LADV  CAROLIXK  PRICE 
Sir  JtisHi  A  Rkvnolds,  I'.R.A. 


in  1801.  Scott  followed  his  system  in  his  gardens  at  Abbotsford,  and  Dr. 
Parr  praised  him  for  the  elegance  of  his  scholarship  and  the  purity  of  his 
style.  He  was  an  intimate  friend  of  Charles  James  Fox,  and  among  the 
many  visitors  to  Foxley  were  Sheridan,  Samuel  Rogers,  and  Wordsworth. 
He  died  in  1829.  Lady  Caroline  died  on  July  i6th,  1826,  aged  72, 
leaving  one  son  and  one  daughter. 

Sir  Joshua  painted  her  in  1787,  and  Gainsborough,  Lawrence,  and  Robert 
Edge  Pine  painted  her  husband.  These  and  other  family  portraits, 
including  a  family  group  by  Hogarth,  were  sold  at  Christie's  in  1893,  the 
"  Lady  Price  "  fetching  £2ii^^5-  ^  portrait  of  Sir  Uvedale  Price,  by  Gains- 
borough, was  No.  20  in  the  Portrait  Exhibition  held  in  the  Birmingham 
Art  Gallery  in  1900.  Lady  Caroline  was  also  painted  by  Romney,  a  half 
length,  seated,  in  a  white  dress  and  large  blue  hat,  exhibited  in  the  Royal 
Academy,  Winter  Exhibition,  1891,  No.  27. 

"One  of  the  last  pictures  painted  by  Reynolds  in  1787  was  the  striking 
and  somewhat  unusual  portrait  of  Lady  Caroline  Price,  which  re-appeared  in 
1893,  in  the  Price  sale  at  Christie's,  so  brilliandy  fresh  in  colour  as  a  litde 
to  disconcert  the  admirers  of  the  classic,  smoked  and  darkened  Reynolds, 
with  its  tawny  shadows  and  bituminous  depths.  On  a  ground  of  scarlet, 
broken  with  a  deeper  red,  the  vivacious  lady  stands  out,  dressed  in  black 
satin,  with  freshly-powdered  hair  and  a  knot  of  brightest  azure  in  her 
waistband,  seeming  to  pass  swiftly  by  the  spectator,  so  momentary  and 
full  of  life  is  the  design.  That  a  master  in  the  sedate  maturity  of  sixty- 
three  years  should  paint  so  superbly  is  perhaps  not  surprising,  but  that  he 
should  paint  with  so  unquenched,  nay,  even  enhanced,  a  vivacity,  is  certainly 
a  subject  for  wonder." — Claude  Phillips^  "  Sir  Joshua  Reynolds." 

Half  length,  life  size,  figure  turned  to  left,  but  head  facing  spectator  ;  powdered  hair  ;  white 
fichu  over  black  satin  coat  or  dress  with  double  cape  ;  blue  sash  ;  rich  red  background  [see 
illustration). 

On  canvas,  36  in.  high  by  z\\  in.  wide. 

Painted  in  November,  1787,  and  paid  for  in  the  same  year,  50  guineas. 
Engraved  in  1788  by  John  Jones  ;  also  by  S.  W.  Reynolds  and  A.  W.  Saunders. 
From  the  Collection  of  General  Price,  C.B. 
From  the  Collection  of  T.  Price,  Esq.,  of  the  Albany. 

Sold  at  Christie's  in  1893,  when  it  was  said  to  have  been  formerly  in  the  Duke  of 
Buckingham's  Collection. 

Exhibited  in  the  British  Pavilion,  Paris  International  Exhibition,  1900. 

35 


35-    LADY  GERTRUDE  FITZPATRICK— «  COLLINA." 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Sir  Charles  T ennant,  Ban. 

Daughter  of  John,  Earl  of  Upper  Ossory,  and  of  Anne  Liddell,  his  wife, 
sometime  Duchess  of  Gordon.  Lady  Gertrude  died  unmarried.  The 
picture  represents  her  as  CoUina,  standing  on  a  hill,  with  flowers  at  her  feet, 
in  a  simple  white  dress,  the  skirts  gathered  up  at  the  waist.  It  was  painted 
in  1779  for  her  father,  an  intimate  friend  of  Sir  Joshua's,  and  has  been 
engraved  five  times.  It  is  one  of  Sir  Joshua's  most  celebrated  renderings  of 
children. 

Full-length  figure  of  a  little  girl,  life  size,  facing  spectator,  standing  on  rising  ground,  seen 
against  the  sky-line  ;  dark  brown  curly  hair  ;  white  or  cream  coloured  dress  and  large  kerchief 
crossed  upon  her  shoulders,  white  stockings,  and  shoes  with  pink  bows  ;  skirts  gathered  up 
round  her  waist  ;  her  hands  crossed  ;  a  few  flowers  at  her  feet ;  background  of  sky. 

On  canvas,  56  in.  high  by  41  in.  wide. 

Painted  in  1779,  and  paid  for  in  1780,  50  guineas. 

Engraved  by  John  Dean,  1780,  John  Jones,  1792,  and  J.  R.  Smith. 

Exhibited  at  the  Royal  Academy,  1779. 

At  the  British  Institution,  181 3,  1845,  and  1865. 

At  the  Royal  Academy,  Winter  Exhibition,  1871,  No.  132,  lent  by  Lady  Lyveden. 
At  the  Royal  Academy,  Winter  Exhibition,  1875,  73- 

At  the  Grosvenor  Gallery,  Reynolds  Exhibition,  1883-84,  No.  153,  lent  by  the  Dowager 
Lady  Castletown  of  Upper  Ossory. 

At  the  Grafton  Galleries,  1894. 

In  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 

36.    MISS  MARY  BARNARDISTON. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  H.  A.  Christy^  Esq. 

Probably  a  daughter  of  Thomas  Barnardiston,  the  law  reporter,  who  was 
educated  at  the  Middle  Temple,  and  created  a  serjeant-at-law  in  1735. 
He  died  on  October  14th,  1752,  and  was  buried  at  Chelsea.    His  reports 
36 


No.  36 


MISS  MARY  BARXARDISTON 
Sir  Josm  w  Ricvnolds,  P.R.A. 


No.  37 


THK  lp:slie  rov 

SiK  Hknrn   Raehi  kn,  K.A. 


in  Chancery  were  published  in  folio,  1740-42.  These  reports  have  been 
frequently  denounced  as  inaccurate,  but  are  often  cited.  There  is  a  note  in 
Sir  Joshua's  Diary  of  January,  1764 — "Miss  Bernardeston,  picture  to  be 
finished,"  but  on  the  back  of  the  canvas  there  is  a  note  to  the  effect  that 
the  portrait  was  painted  in  1755,  which  is  probably  the  correct  date.  There 
is  an  entry  in  Reynolds'  diary  for  1762  stating  that  he  received  ten  guineas 
for  a  copy  of  this  portrait. 

Half  length,  life  size,  facing  spectator,  with  head  slightly  turned  towards  the  right ;  low- 
necked  white  satin  dress,  with  loops  of  pearls,  and  a  bunch  of  flowers  at  the  breast ;  blue  silk 
jacket  trimmed  with  ermine  ;  plain  dark  background  {see  illustration). 

On  canvas,  30  in.  high  by  24  in.  wide. 


37.    THE  LESLIE  BOY.  SIR  HENRY  RAEBURN,  R.A. 

Lent  by  Sir  Charles  Tennant,  Bart. 

This  portrait  represents  one  of  the  artist's  step-children.  When  Raeburn 
was  twenty-two,  in  1 778,  he  married  a  lady  of  some  fortune,  who  was  several 
years  his  senior.  This  was  Ann,  daughter  of  Peter  Edgar,  factor  to  the 
Earl  of  Selkirk,  and  Laird  of  Bridgelands,  in  Perthshire.  She  was  the  widow 
of  "Count"  James  Leslie,  one  of  the  Leslies  of  Balquhun,  in  Aberdeenshire. 
His  foreign  title  of  nobility  was  gained  by  proceedings  not  strictly  directed 
to  the  prosperity  of  the  House  of  Hanover.  He  left  her  a  widow  with 
a  son  and  two  daughters,  and  the  house  and  property  of  Deanhaugh,  to  the 
west  of  Edinburgh,  near  the  present  Dean  Bridge,  which  spans  the  deep 
gorge  of  the  Water  of  Leith.  Raeburn  treated  her  children  as  though  they 
were  his  own,  and  won  their  love  and  regard  in  a  very  unusual  degree. 
The  son  was  accidentally  drowned. 

Inscribed  on  the  back,  "  Painted  by  my  grandfather,  Sir  Henry  Raeburn 
— vouched  for  by  L.  W.  Raeburn." 

Half  length,  life  size,  facing  spectator  ;  he  wears  a  large  broad-brimmed  white  felt  hat,  which 
shades  his  face  ;  green  jacket  with  gilt  buttons,  open  at  the  neck  ;  white  collar  ;  the  lips 
parted,  showing  the  teeth  ;  hands  twisted  together,  with  left  thumb  pointing  upwards ;  he 
stands  beneath  a  tree,  with  sky  and  an  open  landscape  on  the  left  (see  illustration). 

On  canvas,  30  in.  high  by  24^  in.  wide. 

37 


38.    SIR  RICHARD  ARKWRIGHT. 


JOSEPH  WRIGHT,  A.R.A.,  of  Derby. 

Lent  by  the  Corporation  of  Nottingham. 

Richard  Arkwright,  famous  for  his  inventions  in  cotton-spinning,  was 
born  at  Preston,  Lancashire,  in  1732,  and,  after  working  for  some  years  in 
a  barber's  shop  at  Bolton-le-Moor,  obtained  the  assistance  of  John  Kay,  a 
watchmaker,  of  Warrington,  in  the  preparation  of  machinery  which  he 
had  devised.  In  1768  he  set  up  his  first  machine  at  Preston.  Messrs. 
Strutt  and  Need,  of  Derby,  then  extensively  engaged  in  the  stocking 
manufacture,  entered  into  partnership  with  him,  while  Messrs.  Wright,  the 
bankers,  of  Nottingham,  supported  them  in  their  money  transactions.  In 
1769  Arkwright  obtained  the  first  patent  for  spinning  cotton  by  means  of 
rollers.  In  1771  a  spinning  mill  was  erected  at  Cromford,  in  Derbyshire, 
and  moved,  as  an  improvement  on  horse  labour,  by  water  power.  In  1786 
he  received  the  honour  of  knighthood,  and  served  the  office  of  High 
Sheriff  of  Derbyshire  in  the  following  year.  In  1790  he  introduced 
Boulton  and  Watt's  steam-engine  into  his  mill  at  Nottingham.  He  died 
at  Cromford  in  1792. 

This  picture  seems  to  be  a  replica  of  the  one  in  the  National  Portrait 
Gallery,  which  was  presented  by  Arkwright  to  Dr.  Darwin,  in  addition  to  a 
fee  of  ;^i,ooo,  in  compensation  for  his  time  and  trouble  in  appearing  in 
London  to  give  evidence  at  the  trial  in  which  Sir  Richard  was  proved  to  be 
the  sole  inventor  of  the  spinning  jenny. 

Half  length,  life  size,  facing  spectator,  head  turned  towards  left  ;  grey  wig  ;  brown  coat 
with  gilt  buttons,  white  neckcloth,  and  yellow  and  blue  striped  waistcoat  ;  dark  background. 

On  canvas,  30  in.  high  by  24  in.  wide. 

Painted  in  1790. 

Engraved  by  J.  R.  Smith,  1801. 

39.    THE  HON.  JOHN  AND  HON.  HENRY  CUST,  as  Boys. 

JOHN  HOPPNER,  R.A. 

hent  by  the  Earl  Brownlow. 

John,  second  Baron  and  first  Earl  Brownlow,  son  of  Brownlow  Cust, 
first  Baron  Brownlow,  and  his  second  wife  {see  notes  to  Nos.  43  anci  44),  was 
born  on  June  19th,  1779,  and  succeeded  his  father  in  1807.    He  was 
38 


THE  HON.  JOH\  A\D  HO\.  HENRV  CLST 
John  Hofpnhr,  R.A. 


A  GIRL  SKETCHING 
Sir  Hknrv  Raebl'rn,  R.A. 


advanced  to  the  Viscounty  ot  Alford  and  Earldom  of  Brownlow  on 
November  17th,  1815.  He  was  married  three  times  ;  first,  on  July  24th, 
1 8 10,  to  Sophia,  second  daughter  and  co-heir  of  Sir  Abraham  Hume, 
Bart.,  grand-daughter  maternally  of  John  Egerton,  Bishop  of  Durham,  and 
great  grand-daughter,  also  maternally,  of  Henry  Grey,  Duke  of  Kent,  who 
died  in  181 8  ;  secondly,  on  September  22nd,  181 8,  Caroline,  second 
daughter  of  George  Fludyer,  of  Ayston,  Rutlandshire,  who  died  on  July 
24th,  1824  ;  and  thirdly,  on  July  17th,  1828,  Emma  Sophia,  eldest 
daughter  of  Richard,  second  Earl  of  Mount  Edgcumbe,  who  died  in 
January,  1872.  The  Earl  was  Lord-Lieutenant,  Gustos  Rotulorum,  and 
Vice-Admiral  of  Lincolnshire,  and  Recorder  of  Boston.  He  died  on 
September  15th,  1853,  and  was  succeeded  by  his  grandson,  the  present 
Earl. 

His  brother,  the  Hon.  and  Rev.  Henry  Cockayne  Gust,  M.A.,  of 
Cockayne  Hatley,  Bedfordshire,  Canon  of  Windsor,  was  born  on  September 
28th,  1780.  He  married,  on  June  20th,  1816,  Anna  Maria,  eldest 
daughter  of  Francis,  first  Earl  of  Kilmorey,  and  died  on  May  19th,  1861. 
His  wife  died  on  May  29th,  1866.  His  eldest  son  assumed  the  additional 
surname  and  arms  of  Cockayne. 

Full-length,  life-size  figures  of  two  boys,  facing  the  spectator,  standing  in  a  landscape.  The 
elder  boy,  on  the  right,  has  his  head  turned  to  the  left,  and  his  right  arm  rests  upon  his 
brother's  left  shoulder,  while  in  his  left  hand,  gloved,  he  holds  a  black  hat.  The  younger  boy, 
on  the  left,  rests  his  right  hand  on  the  head  of  a  greyhound  ;  both  have  fair  curling  hair, 
falling  on  their  shoulders,  and  are  dressed  in  black  coat,  white  neckcloth  and  waistcoat,  drab 
breeches  and  white  stockings ;  on  the  left  a  bank  with  trees  ;  on  the  right  an  open  landscape 
with  a  stream  in  the  distance  {see  Uluslration). 

On  canvas,  80  in.  high  by  5 1  in.  wide. 

Reproduced  in  "The  Art  Journal,"  December,  1903. 


40.    A  GIRL  SKETCHING.  SIR  HENRY  RAEBURN,  R.A. 

Lent  by  Mrs.  George  Holt. 

This  is  possibly  the  picture  which  was  in  the  Raeburn  Exhibition  held 
at  the  Royal  Academy,  Edinburgh,  1876,  under  the  title  of  "A  Young 
Girl,  sitting,  leaning  on  a  Portfolio,"  No.  126,  lent  by  Mr.  James  T. 
Gibson-Craig. 

Half  length,  life  size,  almost  facing  spectator,  seated,  with  head  slightly  raised  towards  the 
left,  dark  brown  hair  coiled  on  the  top  of  head  ;  low-Hecked,  shQrt-sl?ev^4  white  dress  ;  the 

39 


left  elbow  rests  on  a  large  folio  on  a  sloping  desk  or  table,  the  hand  supporting  the  back  of  the 
head  ;  the  right  arm,  across  the  body,  also  rests  on  the  folio  ;  plain  dark  background 
(see  illustration). 

On  canvas,  30  in.  high  by  24.  in.  wide. 

Exhibited  at  the  Glasgow  International  Exhibition,  1901,  No.  22. 
Reproduced  in  Sir  Walter  Armstrong's  "  Raeburn." 


41.    LADY  MARGARET  FORDYCE. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  the  Earl  of  Rosebery^  K.T. 

Lady  Margaret  Lindsay,  second  daughter  of  James,  fifth  Earl  of 
Balcarres,  married  Alexander  Fordyce,  the  well-known  London  banker, 
and  youngest  son  of  Provost  Fordyce,  of  Aberdeen,  in  1770.  He  was  the 
most  active  partner  in  the  firm  of  Neale,  James,  Fordyce,  and  Down,  and 
lived  in  great  magnificence  on  an  estate  he  purchased  at  Roehampton, 
where  he  built  a  fine  house.  He  is  said  to  have  spent  nearly  £  1 4,000  in 
1768  at  the  Colchester  parliamentary  election,  but  was  defeated  by  24  votes. 
Shortly  after  his  marriage  the  tide  of  fortune  turned,  and  the  bank  suffered 
very  heavy  losses  in  1771  and  the  following  year,  so  that  Fordyce  absconded 
on  June  loth,  1772,  and  the  bank  stopped  payment.  This  brought  about 
a  grave  financial  crisis  in  the  city.  He  soon  returned,  however,  and  went 
through  his  examination  at  the  Guildhall,  although  his  life  was  supposed  to 
be  in  danger  from  the  violence  of  the  mob.  The  total  deficiency  was 
about     1 00,000. 

Contemporary  memoirs  and  letters  give  terrible  accounts  of  the  deluge 
of  bankruptcy  which  followed  this  failure,  and  they  indicate  the  ruin  of 
thousands.  It  was  said  that  "  Black  Monday  brought  Britannia,  Queen  of 
the  Indies,  to  the  precipice  of  bankruptcy."  Horace  Walpole  wrote  to  the 
Hon.  H.  S.  Conway,  a  few  days  after  the  smash,  "  It  is  lucky  that  I  have 
had  no  dealings  with  Mr.  Fordyce,  for  if  he  had  ruined  me,  as  he  has  half 
the  world,  I  could  not  have  run  away.  I  tired  myself  with  walking,  on 
Friday  ;  the  gout  came,  on  Saturday,  in  my  foot."  Fordyce  died  on 
September  8th,  1789. 

Innocent  of  the  approaching  catastrophe,  Lady  Margaret  was  one  of  the 
gayest  of  the  revellers  assembled  at  the  wild  masquerade  which  took  place 
at  the  Pantheon,  on  the  preceding  30th  of  April.  She  danced  as  Queen 
40 


No.  41 


LADV  MARGARET  FORDYCE 
Thomas  Gainsborol'c.h,  R.A. 


MISS  SOMER\  ILLE 
Francis  Cotks,  R.A. 


Elizabeth  ;  Goldsmith,  Reynolds,  and  scores  of  his  and  Gainsborough's 
sitters  were  present.  A  party  of  Macaroni  escorted  Mrs.  Baddeley,  the 
actress,  into  the  assembly  room  under  an  arch  of  glittering  swords,  and  thus 
defied  the  patronesses,  who  denied  admittance  to  ladies  of  questionable 
character.  The  Duchess  of  Ancaster,  Lady  Melbourne,  and  Mrs.  Damer 
wore  male  dominoes  ;  among  the  company  were  Goldsmith's  "  Jessamy 
Bride,"  and  "  Little  Comedy,"  as  well  as  Lady  Margaret's  elder  sister, 
Lady  Anne. 

In  1 8 12  she  married  Sir  James  Bland  Burges,  Bart.,  the  well-known 
politician  (1752-1824).  Lady  Margaret  was  his  third  wife.  He  had 
formed  a  passionate  affection  for  her  in  his  youth,  when  she  was  Lady 
Margaret  Lindsay,  but  the  young  lover  was  sent  abroad,  while  the  lady 
married  the  rich  banker.  Out  of  this  hopeless  attachment  sprang  the 
universally  admired  ballad  of  "  Auld  Robin  Gray,"  Burges  being  the 
Jamie  of  the  poem,  which  was  written  by  Lady  Margaret's  elder  sister,  the 
Lady  Anne  Barnard.    Lady  Burges  died  in  18 14. 

Gainsborough  painted  her  portrait  more  than  once,  as  well  as  her  husband. 
A  full  length  of  Lady  Margaret,  and  a  half  length  of  Fordyce,  were  exhibited 
at  the  Gainsborough  Exhibition  in  the  Grosvenor  Gallery,  1885,  Nos.  160 
and  20,  lent  by  the  Earl  of  Crawford  and  Balcarres. 

Inscribed  on  the  front :  "  Lady  Margaret  Fordyce,  by  Gainsborough." 

Half  length,  life  size,  facing  spectator,  with  head  turned  to  the  left,  and  supported  by  the 
right  hand  ;  reddish  hair,  with  a  ringlet  falling  on  the  neck  ;  grey  felt  hat  with  white  feathers 
and  pearls;  low-necked  dress,  of  greenish  brown,  trimmed  with  lace  and  pearls  and  a  jewel  at 
breast  ;  a  lace  Vandyck  or  Elizabethan  collar  ;  dark  background  with  red  curtain  to  the  left 
(see  illustration). 

On  canvas,  oval  in  a  square,  30  in.  high  by  24  in.  wide. 

Exhibited  at  the  Royal  Academy,  Winter  Exhibition,  1896,  No.  36. 


42.    MISS  SOMERVILLE.  FRANCIS  COTES,  R.A. 

Lent  by  Lockett  AgneWy  Esq. 

Life  size,  half  length,  figure  facing  spectator  but  turned  slightly  towards  the  left  ;  brown 
hair,  worn  high,  with  flowers;  low-necked  dress  of  blue  trimmed  with  gold;  white  jacket 
similarly  trimmed,  with  short  full  sleeves  looped  up  with  two  carbuncles ;  plain  background  {lee 
illustration). 

On  canvas,  30  in.  high  by        in.  wide. 

41 


43-    FRANCES,  LADY  BROWNLOW,  AND  HER  ELDEST  SON, 
THE  HON.  JOHN  CUST.  g^Q^^g  ROMNEY. 


Lent  by  the  Earl  Brownlow. 

Frances,  only  child  of  Alderman  Sir  Henry  Bankes,  knight,  ot  the  City 
of  London.  She  married,  on  August  31st,  1775,  as  his  second  wife,  the 
first  Lord  Brownlow,  and  died  on  April  13th,  1847.  (For  portraits  of  her 
two  eldest  sons,  by  Hoppner,  and  of  her  husband,  by  Romney,  see  Nos.  39  and 
44)- 

Full  length,  life  size.  Lady  Brownlow  is  seated  on  the  right  facing  the  spectator  ;  fair  hair 
with  a  narrow  white  and  gold  scarf;  dark  brown  low-necked  dress.  The  child,  with  fair  curling 
hair,  stands  on  the  left  leaning  against  his  mother's  knee,  dressed  in  a  white  frock  with  dark  blue 
sash.  Her  right  arm,  resting  on  a  stone  balustrade,  is  placed  round  him,  and  with  her  left  she 
holds  his  folded  hands ;  landscape  background,  with  trees  on  the  right.    {See  illustration). 

On  canvas,  50  in.  high  by  40  in.  wide. 

The  date  1783  is  inscribed  on  the  stone  balustrade. 

44.    BROWNLOW  CUST,  FIRST  LORD  BROWNLOW. 

GEORGE  ROMNEY. 

Lent  by  the  Earl  Brownlow. 

This  family  was  seated  at  Pinchbeck,  Lincolnshire,  nearly  five  hundred 
years  ago.  Sir  Richard  Cust,  who  represented  Lincolnshire  in  the 
Parliament  of  1653,  was  created  a  baronet  after  the  Restoration,  in  1677. 
His  grandson.  Sir  Richard  Cust,  second  baronet,  married  Anne,  daughter 
of  Sir  William  Brownlow,  fourth  baronet,  and  sister  and  sole  heir  of  Sir 
John  Brownlow,  Viscount  Tyrconnel,  the  last  baronet,  of  Great  Humby, 
and  she  inherited  from  her  brother  the  mansion  and  estate  of  Bclton,  in 
Lancashire.  Their  son.  Sir  John  Cust,  was  M.P.  for  Grantham,  and  was 
elected  to  the  Speaker's  chair  in  the  House  of  Commons  in  1761.  Sir 
John  was  painted  by  Reynolds  in  1767.  He  was  frequently  satirized 
on  account  of  the  shortness  of  his  nose.  Four  days  after  his  election 
as  Speaker,  Horace  Walpole  wrote  to  George  Montagu  :  "  Sir  John  Cust 
is  Speaker,  and,  bating  his  nose,  the  chair  seems  well-filled."  He  is 
represented  in  Hogarth's  print  of  "  The  Times,  Plate  IL",  and  many  other 
satirical  engravings. 
42 


No.  43 

FRAXCES,  LADY  BROWNLOW,  AND  HER  ELDEST  SON 
Cii;orc;k  Romnfv 


No.  44 


BROWXLOW  CUbT,  FIRST  LORD  BROWNLOW 

GEOKt;E  ROMNKV 


N''-  45 


MISS  RAMUS 
GiiORGic  RoMNl•;^• 


Sir  Brownlow  Cust,  son  of  the  Speaker,  born  December  3rd,  1744, 
was  elevated  to  the  peerage,  in  consideration  of  the  services  of  his  father, 
May  29th,  1776,  as  Baron  Brownlow  of  Belton.  His  Lordship  was  twice 
married  ;  first,  on  October  i6th,  1770,  to  Jocosa  Catherine,  youngest 
daughter  and  co-heir  of  Sir  Thomas  Drury,  Bart.,  of  Overstone,  Northamp- 
tonshire, who  died  on  February  iith,  1772  ;  and  secondly,  on  August 
31st,  1775,  to  Frances,  only  child  of  Alderman  Sir  Henry  Bankes,  knight, 
of  the  City  of  London,  by  whom  he  had  six  sons  and  five  daughters. 
Lord  Brownlow  died  on  December  27th,  1807,  and  his  baroness  on  April 
13th,  1847,  (For  the  portraits  of  his  two  eldest  sons,  and  of  his  second  wife^ 
see  Nos.  39  and  43.^ 

Three-quarter  length,  life  size,  facing  to  the  left,  but  face  turned  almost  full  to  the  front  ; 
white  wig  with  black  bow  ;  light  olive  green  coat  with  cuffs  of  stiff  embroidery,  and  lace 
ruffles  ;  gold-hilted  sword  ;  wearing  his  peer's  robes  of  red  and  white  ;  open  landscape  and  sky 
on  the  right,  with  part  of  a  stone  building  on  the  left  behind  the  figure  (see  illustration  J. 

On  canvas,  50  in.  high  by  40  in.  wide. 


45.    MISS  RAMUS.  GEORGE  ROMNEY. 

Lent  by  the  Hon.  fV.  F.  D.  Smith,  M.P. 

Miss  Ramus  was  a  member  of  a  family  well  known  at  Court  and  in 
society.  Gainsborough  painted  a  portrait  of  Mr.  Ramus  in  1783,  probably 
her  brother  William,  who  was  one  of  the  royal  pages.  ( For  a  portrait  of 
her  sister  see  No.  47.^  She  married  Emmanuel  Marie  Louis,  Marquis  de 
Noailles,  second  son  of  the  Due  de  Noailles,  a  well  known  diplomatist, 
born  in  Paris  in  1743.  He  was  Governor  of  Vannes,  1762  ;  Minister 
Plenipotentiary  to  Germany,  1768  ;  Ambassador  to  Holland  ;  and 
Ambassador  to  London,  1776,  where  he  notified  to  the  British  Government 
the  conclusion  of  the  treaty  between  France  and  the  United  States  (1778). 
He  remained  here  until  1783,  after  which  he  was  in  Vienna  until  1792. 
On  his  return  to  France  he  was  imprisoned  under  the  Terror,  but, 
regaining  his  liberty,  retired  into  private  life.  He  died  in  London,  1822. 
His  wife  died  in  1 848. 

Half  length,  life  size,  turned  to  the  right,  but  with  head  nearly  full-face  ;  dark  hair  dressed 
high,  with  ringlet  on  neck,  and  a  blue-grey  scarf  embroidered  with  gold  ;  low-necked  dress  of 
pink,  embroidered  with  gold  ;  green  gauze  veil  fastened  at  back  and  brought  round  waist ; 
background  of  sky  {see  illustration). 

43 


On  canvas,  29  in.  high  by  24  in.  wide. 
Engraved  by  William  Dickinson. 

Exhibited  at  the  Romney  Exhibition,  Grafton  Galleries,  1900,  No.  100. 
Reproduced  in  Sir  Herbert  Maxwell's  "  George  Romney,"  1902. 


46.    EMMA,  LADY  HAMILTON,  AS  ST.  CECILIA. 

GEORGE  ROMNEY. 

Lent  by  Lord  Iveagh^  K.P. 

In  1782  Romney  made  the  acquaintance  of  a  lady  who  was  to  effect  a 
lasting  influence  upon  his  art.  Amy  Lyon,  or  Emma  Hart,  born  about 
1763,  was  the  daughter  of  a  domestic  servant,  and  entered  the  family  of 
Mr.  Thomas,  of  Hawarden,  as  nursemaid  at  the  age  of  thirteen,  and  next 
in  that  of  Dr.  Budd,  of  Blackfriars,  London.  After  various  vicissitudes, 
during  which  she  was  under  the  protection  of  Captain  Payne  and  Sir 
Henry  Fetherstonehaugh,  she  was  rescued  from  absolute  destitution  by  Dr. 
Graham,  a  disreputable  quack,  who  employed  her  to  represent  Hygeia,  the 
goddess  of  Health,  at  his  rooms  in  Schomberg  House,  in  illustration  of  his 
lectures,  which  were  both  fashionable  and  scandalous.  About  1782  she 
became  the  mistress  of  Charles  Greville,  who  took  her  to  sit  for  her 
portrait  in  Romney's  studio  in  Cavendish  Square.  From  that  time  forward 
the  artist  never  wearied  of  painting  her,  both  in  her  own  person  and  in 
many  allegorical  and  fanciful  characters  ;  and  he  neglected  his  other  sitters 
in  order  to  represent  her  under  every  variety  of  aspect — tragic  or  comic, 
domestic  or  dramatic,  and  to  depict  the  changes  on  her  classical  features, 
which  were  as  mobile  as  they  were  comely.  Greville  was  violently  in  love 
with  her,  and  would  probably  have  married  her  but  for  his  uncle.  Sir 
William  Hamilton,  who  rescued  his  nephew  from  the  mhalliance  by 
committing  it  himself.  He  married  her  in  1791,  and  introduced  her  to  the 
Court  of  Naples,  where  he  was  British  Minister.  There  she  became  a 
great  favourite  with  the  King  and  Queen,  and  there  began  her  connection 
with  Lord  Nelson,  which  only  ended  with  the  latter's  death.  His  last 
letter  to  her  was  found  open  upon  his  desk  in  the  cabin  of  the  Victory  by 
Captain  Hardy  after  the  battle  of  Trafalgar.  In  his  will  Nelson  left  Lady 
Hamilton  as  a  legacy  to  the  consideration  of  his  country  "  for  services 
rendered,"  but  she  died  in  poverty,  in  18 16,  at  a  lodging  near  Calais. 
44 


No.  47 


IMISS  BENEDETTA  RAAIL  S 

GliORCI':  ROMNKY 


A  contemporary  writer  describes  her  personal  appearance  in  her  earlier 
days  in  the  following  words  : — "  A  perfect  form,  and  face  as  fresh  and  as 
divinely  fair  as  Hebe's  ;  eyes  that  could  express  the  deepest  passion,  and 
melt  in  softest  langour  ;  a  mouth  like  a  rose-bud  ;  the  clear  white  brow 
framed  by  a  profusion  of  auburn  hair,  on  which  the  sun  seemed  continually 
to  shine." 

Half  length,  life  size,  facing  spectator  ;  head  raised  towards  the  left,  with  eyes  cast  upwards  ; 
hands  joined  in  the  attitude  of  prayer  ;  auburn  hair,  with  white  veil  over  head  ;  white 
low-necked  dress  ;  pale  blue  narrow  sash  ;  plain  background. 

On  canvas,  oval,  33  in.  high  by  25  in.  wide. 

Engraved  by  George  Keating,  1789. 


47.    MISS  BENEDETTA  RAMUS.  GEORGE  ROMNEY. 

Lent  by  the  Hon.  W.  F.  D.  Smith,  M.P. 

Miss  Benedetta  Ramus  married  Sir  John  Day,  Judge  Advocate-General 
in  Bengal,  who  was  knighted,  June  19th,  1777.  It  is  in  connection  with 
the  bestowal  of  this  honour  upon  Sir  John  that  George  III.  is  said  to  have 
perpetrated  his  one  and  only  witticism,  as  when  knighting  him  he  complained 
that  he  was  turning  Day  into  Knight  !  His  brother,  George  Day,  was 
physician  to  the  Nabob  of  Arcot.  Sir  John  died  at  Richmond,  June  14th, 
1808,  and  Lady  Day  in  Mortimer  Street,  Cavendish  Square,  July,  181 1, 
aged  55  (.'').    (See  note  to  the  portrait  of  her  sister.  No.  4 5. J 

Half  length,  life  size,  facing  spectator,  head  inclined  towards  the  left  ;  black  hair,  with  grey 
scarf  looped  with  pearls,  white  low-necked  dress,  with  short  lace  sleeves  ;  on  the  right  a  small 
mahogany  table,  upon  which  her  left  elbow  rests  ;  her  hands  clasped  upon  the  top  of  a  book 
which  stands  upright  on  the  table,  her  chin  resting  upon  them  ;  background  of  sky  (see 
illustration). 

On  canvas,  29  in.  high  by  24  in.  wide. 

Engraved  by  William  Dickinson,  1779  (twice). 

Exhibited  at  the  Romney  Exhibition,  Grafton  Galleries,  1900,  No.  26. 
Reproduced  in  Sir  Herbert  Maxwell's  "George  Romney,"  1902. 

45 


48.    MISS  HARRIET  ANN  SEALE.       JOHN  HOPPNER,  R.A. 


Lent  by  Lady  Lister. 

Miss  Harriet  Ann  Scale  was  the  second  daughter  of  John  Seale,  of 
Mount  Boone,  Dartmouth,  Devonshire,  who,  in  1755,  married  Sarah, 
daughter  of  Charles  Hayne,  of  Lupton,  and  sister  and  co-heiress  of  Charles 
Hayne,  of  Lupton  and  Fuge  House.  Miss  Harriet  Seale  became  the  first 
wife  of  Thomas  Lister,  of  Armitage  Park,  Staffordshire.  Her  brother, 
Sir  John  Henry  Seale,  M.P.  for  Dartmouth,  was  created  a  baronet  in 
1838. 

Full  length  of  a  little  girl,  life  size,  facing  spectator,  the  head  turned  towards  the  right  ; 
standing  in  a  wood,  with  the  left  arm  round  the  trunk  of  a  tree  ;  large  grey  felt  hat  with  grey 
ribbons  ;  white  dress  with  red  sash  and  shoes  ;  background  of  trees. 

On  canvas,  49  in.  high  by  38  in.  wide. 


49.    WARREN  HASTINGS.  JOHN  HOPPNER,  R.A. 

Lent  by  General  David  Anderson. 

Warren  Hastings,  born  in  1733,  was  descended  from  a  reduced  branch 
of  the  ancient  house  of  Hastings,  and  became  the  first  Governor-General  of 
India.  He  was  educated  at  Westminster  School,  and  in  1750  went  out  to 
India  in  the  service  of  the  Company.  On  his  arrival  at  Bengal,  he 
distinguished  himself  by  an  earnest  application  to  his  public  duties,  and 
was  entrusted  with  many  honourable,  commercial  and  political  employments. 
He  returned  to  England  fourteen  years  later,  and  in  1769  was  appointed 
second  in  council  at  Madras.  In  1772  he  became  president  of  the  Supreme 
Council  of  Bengal,  and  in  1774  attained  the  high  position  of  Governor- 
General  of  all  British  India,  which  post  he  held  until  1785.  Shortly  after 
his  return  to  England  he  was  impeached  by  the  House  of  Commons  for 
various  acts  of  his  government,  and  his  trial,  held  in  Westminster  Hall, 
continued  for  seven  years.  He  was  acquitted  by  a  large  majority  on  every 
separate  article  charged  against  him,  on  April  23rd,  1795.  From  this 
period  he  retired  into  private  life,  residing  at  Daylesford,  in  Worcestershire, 
46 


No.  49 


WARREN  HASTINGS 
John  Hoppner,  R.A. 


MISS  ANNE  CUNNINGHAME-GRAHAM 
SiK  Henry  Raebi  rn,  R.A. 


upon  an  estate  which  had  formerly  belonged  to  his  family,  and  which,  at  an 
early  period  of  his  career,  he  had  determined  to  re-purchase.  A  few  years 
before  his  death  he  was  raised  to  the  dignity  of  a  Privy  Councillor. 

This  portrait  of  Warren  Hastings  was  bequeathed  to  the  father  of  the 
present  owner.  Warren  Hastings  Anderson,  who  was  a  godson  of  the 
Governor-General  and  second  son  of  David  Anderson,  of  St.  Germains, 
East  Lothian,  one  of  Warren  Hastings'  most  intimate  friends,  to  whom 
many  letters  are  to  be  found  in  the  third  volume  of  the  Rev.  G.  R.  Gleig's 
"Memoirs  of  Warren  Hastings," 

Three-quarter  length,  life  size,  facing  the  spectator,  seated  in  a  dark  blue  velvet  chair  with 
gilded  woodwork;  dark  brown  coat  with  white  neckcloth  and  black  breeches;  his  righ:  hand 
rests  on  the  arm  of  the  chair,  and  in  his  left  he  holds  a  letter ;  on  the  right  a  table,  with  silver 
inkstand,  quill  pen,  and  papers,  and  a  table  cloth  of  Turkish  design  ;  the  background  consists  of 
a  red  curtain,  with  a  column  and  open  sky  on  the  left  {see  illustration). 

On  canvas,  49  in.  high  by  39^  in.  wide. 

Inscribed  on  the  back  of  canvas,  "  Lady  ImhofF's." 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  November,  1903. 


50.    MISS  ANNE  CUNNINGHAME-GRAHAM,  OF  GARTMORE. 

SIR  HENRY  RAEBURN,  R.A. 

Lent  by  C.  A.  Barton.^  Esq. 

Daughter  of  Robert  Cunninghame-Graham,  of  Gartmore,  on  the  borders 
of  Perthshire  and  Stirlingshire,  who,  in  early  life,  was  a  planter  in  Jamaica, 
and  receiver-general  of  that  island.  He  was  Rector  of  Glasgow  University 
in  1785,  and  M.P.  for  Stirlingshire  1794-96.  He  wrote  various  lyrical 
pieces,  the  best  known  of  which  is  "  If  doughty  deeds  my  lady  please." 
Miss  Graham  married  Thomas  Durham,  of  Largs,  in  1820. 

Half  length,  life  size,  facing  spectator,  the  head  turned  to  the  right;  brown  ringlets;  black, 
low-cut  dress  trimmed  with  white  round  the  neck  ;  fur  cloak  on  left  arm ;  plain  background 
{see  illustration). 

On  canvas,  oval,  30  in.  high  by  24  in.  wide. 

47 


51.    MARY  PALMER,  MARCHIONESS  OF  THOMOND. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 


Lent  by  Carl  Meyer^  Esq. 

Mary,  younger  daughter  of  John  Palmer,  of  Torrington,  in  Devonshire, 
and  niece  and  heiress  of  Sir  Joshua  Reynolds.  In  1770  Sir  Joshua 
persuaded  his  sister,  Mrs.  Palmer,  to  allow  her  daughter  Theophila,  then 
aged  thirteen,  to  reside  permanently  with  him  in  London,  and  about  three 
years  later  her  sister  Mary  also  became  an  inmate  of  the  well-known  house 
in  Leicester  Fields,  where  they  both  remained  until  married.  "  Offie,"  as 
the  elder  was  called  by  all  Sir  Joshua's  friends,  married  Mr.  Gwatkin  of 
Killiow,  and  died  in  1843.  She  constantly  sat  to  her  uncle,  and  figures  in 
a  number  of  well-known  canvases.  Mary  was  also  painted  by  Sir  Joshua 
more  than  once,  as  well  as  by  Sir  Thomas  Lawrence.  She  married,  on  the 
2 1  St  of  July,  1792,  Murrogh  O'Bryen,  son  of  James  O'Brien,  M.P.,  and 
grandson  of  William,  third  Earl  of  Inchiquin,  who  succeeded  to  the 
earldom  on  the  death  of  his  uncle  William,  the  fourth  Earl.  He  was 
created  Marquis  of  Thomond,  in  the  Peerage  of  Ireland,  on  December 
29th,  1800,  and  a  Peer  of  the  United  Kingdom,  as  Baron  Thomond 
of  Taplow,  in  the  following  year.  His  marriage  with  Miss  Palmer  took 
place  at  Beaconsfield,  where  her  guardian,  Edmund  Burke,  resided.  He 
had  been  previously  married  to  his  first  cousin,  Mary,  Countess  of  Orkney, 
who  died  in  1790.  Lord  Thomond  died  on  February  9th,  1808,  as  the 
result  of  a  bad  fall  from  his  horse  in  Grosvenor  Square. 

Miss  Fanny  Burney  wrote  of  Sir  Joshua's  nieces  that  "  they  added  to  the 
grace  of  his  table,  and  of  his  evening  circles,  by  their  pleasing  manners  and 
the  beauty  of  their  persons."  Sir  Joshua  left  the  whole  of  his  fortune  and 
property  to  Mary  Palmer.  It  amounted  to  more  than  100,000,  which 
was  by  far  the  greatest  sum  ever  made  by  an  English  artist ;  and,  in  addition, 
he  bequeathed  to  her  a  collection  of  paintings  and  studies  by  the  old  masters, 
all  of  which  were  sold  at  Christie's  in  1821,  not  long  after  her  death,  which 
took  place  at  Baylis,  Bucks,  on  September  7th,  1820. 

Half  length,  life  size,  facing  spectator ;  brown  hair,  with  a  yellow  turban  ;  cream  white 
dress,  with  yellow  trimming  and  muslin  cross-over  fastened  with  a  jewel  at  breast ;  double  gold 
chain  round  neck;  plain  background;  unfinished  {see  illustration). 

On  canvas,  oval  in  a  square,  30  in.  high  by  24  m.  wide. 

Engraved  by  W.  Doughty,  1779. 

Formerly  in  the  Collection  of  Madame  de  Falbe,  and  sold  at  Christie's,  1 900. 
48 


No.  SI 


MARY  I'ALMER,  I\lARCIIIO\ESS  OK  THOIMOND 

SlK  JOSIU  A   Rl-VNOI.DS,  P.R.A. 


No.  52 


EDW  ARD  ALIC;USTL'S,  DL'KE  OF  YORK 
Sir  Jiisiii  A  Ri:\NOLi)s,  P.R.A. 


52.    EDWARD  AUGUSTUS,  DUKE  OF  YORK  AND  ALBANY. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 


Lent  by  H.  Tweedie^  Esq. 

Edward  Augustus,  grandson  of  King  George  II.,  and  brother  of  King 
George  III.,  was  the  second  son  of  Frederick,  Prince  of  Wales,  and  was 
born  on  March  14th,  1739.  Prince  Edward,  who  was  a  sailor,  saw  his  first 
service  afloat  in  1758,  when  the  expedition  of  sixteen  ships  of  the  line,  and 
fourteen  thousand  men,  was  assembled  in  Cawsand  Bay  for  a  descent  on 
the  French  coast.  "  Many  young  men  of  fortune  and  fashion,"  says  Taylor, 
in  his  "  Life  "  of  Sir  Joshua,  "  then  sitting  to  Reynolds,  were  ordered  off  on 
service,  or  joined  their  friends  of  the  army  and  navy,  as  volunteers.  Among 
them  were  Sir  James  Lowther,  Sir  John  Armitage,  Lord  Downe,  and  Mr. 
Delaval.  Lord  Anson  took  the  command  of  the  fleet  in  person,  with 
Commodore  Howe  under  his  orders.  .  .  The  Duke  of  Marlborough 
left  his  picture  unfinished,  to  put  himself  at  the  head  of  the  land  forces, 
with  Lord  George  Sackville  as  his  second  in  command.  Prince  Edward, 
who  sat  to  Reynolds  on  his  return,  distinguished  himself  by  his  spirit  in 
this  his  first  service  afloat,  as  a  midshipman  on  board  the  Essex,  under 
Howe.  .  .  The  painter  must  have  heard  every  detail  of  that  somewhat 
farcical  and  resultless  foray  on  the  French  coast,  from  his  many  soldier  and 
sailor  sitters  who  took  part  in  it.  Prince  Edward  may  have  repeated  to  him, 
with  all  the  glee  of  his  frank  and  joyous  temperament,  how  he  had  kissed 
the  ladies  all  round  at  the  ball  he  had  given  them  at  St.  Helens,  or  how  the 
Due  d'Aiguillon  had  sent  a  cartel-ship  after  the  expedition,  with  the  Duke 
of  Marlborough's  tea-spoons,  accidentally  left  behind." 

Prince  Edward  sat  to  Reynolds  in  December,  1758,  and  in  January, 
1759.  He  was  made  a  Rear-Admiral  and  K.G.,  and  on  April  ist,  1760, 
was  created  Earl  of  Ulster  and  Duke  of  York  and  Albany.  He  died, 
unmarried,  on  September  17th,  1767,  when  all  his  honours  became  extinct, 
and  was  buried  in  Westminster  Abbey.  There  is  a  portrait  of  him,  as  a 
boy  of  eleven,  together  with  his  brother,  George  III.,  by  Richard  Wilson, 
R.A.,  in  the  National  Portrait  Gallery. 

Half  length,  life  size,  facing  spectator,  looking  to  the  left;  in  a  Rear- Admiral's  uniform  of 
blue  with  white  and  gold  facings,  white  waistcoat  trimmed  with  gold,  black  stock  and  white 
collar,  and  powdered  wig ;  blue  ribbon  of  the  Garter  from  left  to  right  ;  star  on  coat ;  right 
hand  raised,  resting  on  a  baton  ;  left  hand  not  shown  ;  sky  background  {see  il/ustration). 

On  canvas,  29  in.  high  by  24.  in.  wide. 

Formerly  in  the  Collection  of  Dr.  J.  Frederick  Silk. 

49 


53-    LADY  DOVER. 


•5 

SIR  JOSHUA  REYNOLDS,  P.R.A. 


Lent  by  Thomas  0.  Lloyd^  Esq. 

Possibly  a  portrait  of  Christiana  Charlotte  Margaret,  daughter  of  Hans 
Henry,  Baron  de  Stocken,  of  Denmark,  and  widow  of  the  Baron  de 
Boetzalaer  of  Holland,  who  married  Joseph  Yorke,  Baron  Dover,  the 
diplomatist  (i  724-1792),  on  June  23rd,  1783,  at  Antwerp.  He  was  the  third 
son  of  Philip  Yorke,  first  Earl  of  Hardwicke,  and  was  a  lieutenant-colonel 
and  aide-de-camp  to  the  Duke  of  Cumberland  at  the  Batde  of  Fontenoy. 
He  was  also  on  the  Duke's  staff  through  the  Scottish  rebellion,  and  present 
at  the  battle  of  Culloden,  1746.  He  held  a  number  of  diplomatic  posts, 
and  was  Ambassador  at  The  Hague  from  1761  until  1780.  He  was  created 
Baron  Dover  in  1788,  and  was  the  first  and  only  Baronet  of  the  second 
creation.  At  his  death,  in  1792,  he  left  his  houses  at  Roehampton  and  in 
Hill  Street  to  his  widow. 

No  sittings  of  this  lady  are  recorded,  under  any  of  her  names,  in 
Reynolds'  pocket  books.  The  description  of  this  portrait  as  "  Lady 
Dover"  is,  perhaps,  incorrect. 

Half  length,  life  size,  full  face ;  brown  hair ;  black  low-necked  dress,  partly  covered  with 
white  muslin  ;  sky  background  ;  unfinished  {see  illustration). 

On  canvas,  30  in.  high  by  24^  in.  wide. 


54.    JOHN  MUSTERS,  when  a  Boy.         JOHN  RUSSELL,  R.A. 

Lent  by  Mrs.  Chaworth  Musters. 

John  Musters,  born  1777,  only  son  of  John  Musters,  of  Colwick  Hall, 
Nottinghamshire  (see  note  to  No.  56 ).  He  married,  in  August,  1805,  Miss 
Mary  Anne  Chaworth,  of  Annesley,  the  heiress.  Lord  Byron's  '*  Mary." 
The  Chaworth  estates  adjoined  those  of  the  Byrons,  and  in  1803,  when 
staying  with  the  Chaworths,  Byron  fell  violently  in  love  with  her,  and  on 
one  occasion,  when  he  overheard  the  lady  say,  "  Do  you  think  I  could  care 
for  that  lame  boy  }  "  rushed  out  of  the  house  and  ran,  like  a  hunted 
creature,  to  Newstead.  They  met  and  parted  a  year  later  on  the  hill  of 
Annesley.  In  1 807  he  sent  her  the  lines  beginning  :  "  O  had  my  fate 
been  join'd  to  thine,"  and  in  the  following  year  he  dined  with  the  young 
couple,  and  was  visibly  affected  by  the  sight  of  their  infant  daughter,  to 
50 


No.  53 


LADY  DOVER 
Sir  Joshua  Reynolds,  P.R.A. 


/ 


No.  55 

JAMES  LLOYD 
John  Constable,  R.  A. 


whom  he  addressed  a  touching  congratulation.  The  romance  of  the  story- 
culminates  in  the  famous  Dream,  written  in  1816,  amid  floods  of  tears. 
"  She  was  the  beau  ideal,"  says  Byron  in  1823,  "of  all  that  my  youthful 
fancy  could  paint  of  beautiful.  And  I  have  taken  all  my  fables  about  the 
celestial  nature  of  women  from  the  perfection  my  imagination  created 
in  her."  She  died  in  1832  of  a  fright  caused  by  a  riot  in  Nottingham, 
and  on  the  death  of  John  Musters,  in  1849,  every  relic  of  her  ancient 
family  was  sold  by  auction  and  scattered  to  the  wind.  (For  a  portrait  of 
Miss  Musters,  his  sister,  see  No.  5 6. J  These  two  portraits  were  given 
by  John  Musters,  in  1837,  to  his  niece,  Charlotte  Anne  Vaughan. 

Half  length  of  a  little  boy,  facing  towards  the  right  ;  long  light  brown  hair  and  blue  eyes  ; 
blue  jacket  and  white  collar  ;  hands  clasped  round  the  head  of  a  large  dog  ;  background  of 
sky. 

Pastel.    On  canvas,  oval,  24  in.  high  by  18  in.  wide. 
Signed  "J.  R.,  1785." 


55.    JAMES  LLOYD.  JOHN  CONSTABLE,  R.A. 

Lent  by  1'homas  O.  Lloyd,  Esq. 

The  family  of  Lloyd  has  for  many  generations  occupied  a  leading  position 
in  Birmingham.  Sampson,  second  son  of  Charles  Lloyd,  of  Dolobran, 
Montgomeryshire  (whose  brother,  Thomas  Lloyd,  was  Deputy-Governor 
of  Pennsylvania  for  William  Penn),  was  the  first  member  of  the  family  to 
settle  in  Birmingham.  Charles  Lloyd  became  a  follower  of  George  Fox, 
and  in  consequence,  suffered  great  persecution  in  his  earlier  days. 
James  Lloyd  was  a  grandson  of  Sampson  Lloyd,  of  Farm  (1699-1779),  and 
second  son  of  Charles  Lloyd,  of  Bingley  House  (1748-1828),  and  Mary, 
daughter  of  James  Farmer,  of  Birmingham.  Mr.  James  Lloyd  was  one  of 
a  large  family.  His  elder  brother  Charles  devoted  himself  entirely  to 
literary  pursuits,  and  as  a  poet  was  numbered  among  Lord  Byron's 
*'  English  Bards."  He  was  the  friend  of  Coleridge,  Lamb,  and  De  Quincy. 
One  of  the  sisters,  Priscilla,  married  Christopher  Wordsworth,  afterwards 
Master  of  Trinity  College,  Cambridge.  James  Lloyd  was  born  at  Bingley 
House,  in  1776,  and  became  a  partner  in  Lloyds  Bank.  He  married, 
in  1802,  Sarah,  daughter  of  Francis  Hart,  of  Nottingham,  and  of  his 
seven  children,  the  late  Mr.  Thomas  Lloyd,  of  the  Priory,  Warwick, 
born  1 8 14,  was  the  last  survivor,  dying  in  1890. 

51 


This  portrait  was  painted  at  Bingley.  Several  other  members  of  the 
Lloyd  family  sat  to  Constable,  some  of  whom  were  painted  at  Old  Brathay, 
in  the  English  Lake  District,  where  Charles  Lloyd  lived. 

Half  length,  life  size,  facing  the  spectator,  head  turned  towards  the  left  ;  dark  hair  and 
whiskers ;  black  coat,  yellow  waistcoat,  and  white  neckcloth  ;  dark  background  {see  illustration). 

On  canvas,  oval,  32  in.  high  by  22  in.  wide. 

Signed  "John  Constable,  f  Deer.,  1806."  The  picture  has  been  cut  down  to  fit  the 
present  frame,  so  that  the  first  three  letters  of  the  name  "  John  "  have  disappeared. 

Illustrated  in  "John  Constable,  R.A." — Bell's  "Miniature  Series  of  Artists." 


56.    MISS  SOPHIA  ANNE  MUSTERS.     JOHN  RUSSELL,  R.A. 

Lent  by  Mrs.  Chaworth  Musters. 

Only  daughter  of"  Squire"  John  Musters,  of  Colwick  Hall,  Nottingham, 
(1753-1827),  known  as  "  the  king  of  gentlemen  huntsmen,"  and  Sophia 
Catherine,  daughter  of  James  Modyford  Heywood,  of  Maristow,  Devon- 
shire. Musters  was  High  Sheriff"  of  Nottingham  in  1777,  in  which  year  a 
full-length  portrait  of  him,  in  hunting  costume,  was  painted  by  Sir  Joshua 
Reynolds.  Miss  Burney  says  of  his  wife  :  "  The  present  beauty,  whose 
remains  our  children  may  talk  of,  is  a  Mrs.  Musters,  an  exceedingly  pretty 
woman,  who  is  the  reigning  toast  of  the  season."  She  was  most  beautiful 
but  most  unhappy,  and  it  was  to  her  that  a  gentleman  at  a  ball  handed  a 
glass  of  chalky  water,  with  an  apology,  saying,  "  Chalk  is  thought  to  be  a 
cure  for  the  heartburn  :  I  wonder  whether  it  will  cure  the  heartache."  Sir 
Joshua  painted  her  more  than  once,  and  she  also  sat  to  Romney. 

Miss  Musters  married,  on  September  8th,  1798,  Thomas  Wright 
Vaughan,  of  Woodstone,  Peterborough,  and  West  Moulsey,  Surrey.  {For 
a  portrait  of  her  brother  see  No.  54.) 

Half  length  of  a  little  girl,  facing  spectator,  full  face  ;  light  brown  hair  in  ringlets  ;  white 
low-necked  dress  with  short  sleeves,  small  locket  hanging  from  thin  chain  round  neck  ;  the  left 
hand  holds  a  bunch  of  flowers  in  her  lap,  a  rose  in  the  right  ;  background  of  sky. 


Pastel.    On  canvas,  oval,  24  in.  high  by  1 8  in.  wide. 
^2 


JOHN  BARliOVV 
John  Hoppner,  R.A. 


No.  58 


MRS.  DUFF 
Sir  Henry  Raebi  kn,  R..A. 


DR.  SAMUEL  JOHNSON 
Sir  Joshua  Reynolds,  P.R.A. 


57.    JOHN  BARROW.  JOHN  HOPPNER,  R.A. 

Lent  by  C.  A.  Barton^  Esq. 

John  Barrow  was  an  intimate  friend  of  the  Prince  of  Wales,  afterwards 
George  IV.,  in  entertaining  whom  he  ruined  himself.  This  portrait  was  a 
commission  given  by  the  Prince  to  the  artist. 

Half  length,  life  size,  facing  left,  head  nearly  full  front ;  grey  or  powdered  hair  ;  black  coat, 
white  ruff  and  neckcloth  ;  background  a  red  curtain  {see  illustration). 

On  canvas,  oval,  30  in.  high  by  24  in.  wide. 


58.    MRS.  DUFF.  SIR  HENRY  RAEBURN,  R.A. 

Lent  by  Leopold  Hirscb,  Esq. 

Wife  of  Colonel  Duff,  of  Fetteresso.  Raeburn  painted  several  members 
of  this  family. 

Half  length,  life  size,  slightly  turned  to  the  right,  full  face  ;  seated  beneath  a  tree :  brown 
hair  and  grey  eyes ;  white  low-necked  dress  with  high  waist  and  short  sleeves ;  hands  not 
shown  ;  landscape  background  {see  illustration). 

On  canvas,  30  in.  high  by  25  in.  wide. 

Reproduced  in  "The  Burlington  Magazine  for  Connoisseurs,"  November,  1903. 


59.    DR.  SAMUEL  JOHNSON. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  the  Earl  of  Rosebery^  K.G.y  K.'T. 

Dr.  Samuel  Johnson  (1709-1784),  the  great  lexicographer  and  critic,  and 
literary  dictator  of  the  i8th  century,  first  made  the  acquaintance  of  Sir 
Joshua  Reynolds  about  1754,  and  their  friendship  soon  became  a  very 

53 


intimate  and  close  one.  Their  first  meeting  took  place  at  the  house  of  the 
two  daughters  of  Admiral  Cotterell,  who  lived  opposite  to  the  artist  in 
Newport  Street.  Johnson  went  home  with  Reynolds,  and  supped  with 
him,  and  soon  became  a  frequent  visitor,  while  Reynolds  returned  his  visits 
in  Gough  Square.  This  warm  friendship  of  two  great  men  never  ceased 
until  Johnson's  death  thirty  years  later.  "  Johnson,"  says  Taylor,  in  his 
"  Life  of  Reynolds,"  "  was  no  respecter  of  time  in  his  visits.  The  dinner 
hour  of  Reynolds  was  four  o'clock,  and  immediately  after  dinner  tea  was 
brought  in.  Tea  was  also  served  later,  and  again  after  supper.  Johnson 
partook  plentifully  of  it  every  time,  and  generally  prolonged  his  visits  far 
into  the  night.  However  desirous  of  cultivating  the  friendship  of  so 
extraordinary  a  man,  Reynolds  could  not  give  up  all  other  society  for  that 
object  ;  and,  as  Johnson's  visits  were  often  without  invitation,  on  one  of 
those  occasions  Reynolds  unceremoniously  walked  out  of  the  room.  We 
are  not  told,  however,  that  Johnson  was  offended  with  this.  Miss 
Reynolds,  who  was  one  of  his  greatest  favourites,  was,  no  doubt,  at  home  ; 
and  he  was  content  to  be  left  at  her  tea-table."  On  another  occasion,  at 
Richard  Cumberland's,  Sir  Joshua,  venturing  to  remind  him  that  he  had  had 
eleven  cups  of  tea,  drew  upon  himself  the  reprimand,  "  Sir,  I  did  not  count 
your  glasses  of  wine,  why  should  you  number  up  my  cups  of  tea  ? " 
Johnson  then  promptly  asked  his  hostess  to  make  up  the  round  dozen, 
telling  her  that  once,  when  a  certain  lady  had  invited  him  "  for  no  other 
purpose  but  to  make  a  zany  of  me,  and  set  me  gabbling  to  a  parcel  of 
people  I  knew  nothing  of,"  he  had  his  revenge,  "  for  I  swallowed  five-and- 
twenty  cups  of  her  tea,  and  did  not  treat  her  with  as  many  words." 

Johnson,  writing  to  Reynolds  after  the  latter's  dangerous  illness  in  1764, 
says  :  "  If  I  should  lose  you,  I  should  lose  almost  the  only  man  whom 
I  can  call  friend  "  ;  while  the  artist,  when  speaking  of  his  famous 
*'  Discourses  "  to  the  Royal  Academy,  bore  testimony  to  the  great  service 
the  Doctor  had  given  him  in  their  preparation.  "  Whatever  merit  they 
have,"  he  wrote,  "  must  be  imputed,  in  a  great  measure,  to  the  education 
which  I  may  be  said  to  have  had  under  Dr.  Johnson.  He  qualified  my 
mind  to  think  justly.  No  man  had,  like  him,  the  faculty  of  teaching 
inferior  minds  the  art  of  thinking."  When  Johnson  was  on  his  death-bed 
he  asked  Reynolds  to  promise  him  three  things — never  to  work  on  Sunday, 
to  read  a  part  of  the  Bible  every  Sunday,  and  whenever  he  had  time  during 
the  week,  and  to  forgive  him  a  debt  of  £2^  which  he  had  been  unable  to 
repay. 

Johnson  sat  to  Reynolds  a  number  of  times.  The  first  portrait  of  him, 
a  half-length,  full  face,  with  a  pen  in  his  hand,  was  painted  in  1756-57. 
The  Doctor  gave  it  to  Boswell,  who  had  it  engraved  for  his  first  edition. 
Sittings  are  also  recorded  in  Sir  Joshua's  diary  in  1761,  1762,  1767,  and 

54 


No.  60 


THE  HON.  GERTRUDE  ROPER,  BARONESS  DACRE 
Sir  Joshua  Reynolds,  P.R.A. 


1772,  and  he  also  sat  again  in  1775  and  1778.  "About  this  time" 
(1775),  says  Taylor,  "Reynolds  painted  his  own  portrait  for  Streatham 
(Mr.  Thrale's),  holding  his  ear-trumpet,  as  well  as  that  portrait  of  Johnson 
in  which  he  holds  a  book  close  to  his  eyes,  and  on  which  Johnson 
remonstrated  against  such  a  record  of  his  near-sightedness.  He  said  to 
Mrs.  Thrale,  '  Reynolds  may  paint  himself  as  deaf  as  he  chooses,  but  I  will 
not  be  Blinking  Sam'  "  This  portrait  is  now  in  the  National  Gallery.  He 
was  also  painted  by  Miss  Reynolds,  Sir  Joshua's  sister,  and  nicknamed  it 
"Johnson's  grimly  ghost." 

Half  length,  life  size,  facing  the  spectator,  the  head  turned  slightly  to  the  left ;  white  wig ; 
brown  coat  and  white  neckcloth  ;  the  left  hand  only  shown  ;  plain  background  {see  illustration). 

On  canvas,  3oin.  high  by  24in.  wide. 

This  picture  is  almost  identical  with  the  National  Gallery  portrait,  though  no  button-holes 
are  shown  on  the  coat,  which  is  slightly  different  in  colour,  and  there  are  no  oblong  curls  on 
the  wig. 


60.    THE  HON.  GERTRUDE  ROPER,  BARONESS  DACRE. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  Leopold  Hirscb,  Esq. 

She  was  a  daughter  of  Charles,  son  of  Anne,  Baroness  Dacre,  and  her 
second  husband,  Henry,  eighth  Lord  Teynham.  Her  mother  was 
Gertrude,  sister  and  co-heir  of  John  Trevor,  of  Glynde,  in  Sussex.  Her 
brother,  Charles  Trevor,  succeeded  his  uncle,  Thomas,  as  eighteenth  Lord 
Dacre,  in  1786.  He  died  in  1794  without  issue,  and  was  succeeded  by 
his  sister,  Gertrude,  as  Baroness  Dacre.  She  married,  on  April  20th,  1771, 
Thomas  Brand,  of  The  Hoo,  Herts.  She  died  on  October  3rd,  18 19, 
and  was  succeeded  by  her  eldest  son,  Thomas  Brand,  twentieth  Lord  Dacre. 

There  is  no  recorded  sitting  of  this  lady  in  Sir  Joshua's  books.  Thirty- 
five  guineas  was  paid  for  a  portrait  of  a  Mrs.  Brand  in  1775,  but  this  does 
not  seem  to  be  the  same  lady. 

Half  length,  facing  the  spectator,  full  face  ;  brown  hair  dressed  high,  with  pearls,  and  one 
long  ringlet  falling  over  the  right  shoulder  ;  white  low-necked  dress,  with  a  red  and  gold 
waistband  ;  jacket  of  pink  silk  trimmed  with  ermine  ;  plain  background  (see  illustration). 

55 


On  canvas,  oval  in  a  square,  z()'m.  high  by  z^m.  wide. 

From  the  collection  of  Viscount  Hampden,  The  Hoo,  Welwyn,  Herts.,  October,  1900. 


61.    JOSEPH  HAYDN.  JOHN  HOPPNER,  R.A. 

Lent  by  His  Majesty  the  King. 

Joseph  Haydn,  the  son  of  a  poor  wheelwright,  was  born  in  the  village  of 
Rohrau,  on  the  confines  of  Hungary  and  Austria,  March  31st,  1732.  At 
the  age  of  eight  he  displayed  great  musical  ability,  and  was  received  into 
the  choir  of  the  cathedral  at  Vienna,  where  he  remained  until  his  sixteenth 
year,  when  his  voice  broke.  He  then  gave  lessons  in  Vienna,  played  in  the 
orchestra,  and  occupied  himself  with  composition,  but  he  was  reduced  to 
the  verge  of  starvation.  He  received  assistance  from  the  poet  Matastasio, 
who  introduced  him  to  the  celebrated  singer  Porpora,  who  employed  him  to 
accompany  him  on  the  piano  during  his  singing  lessons.  In  1750  he 
composed  his  first  quartet  for  stringed  instruments.  In  1759  he  was 
engaged  by  Count  Morzin  as  music  director  and  composer,  and  in  the 
following  year  Prince  Estcrhazy  placed  him  at  the  head  of  his  private 
chapel.  For  him  Haydn  composed  his  beautiful  symphonies  and  the 
greater  number  of  his  magnificent  quartets.  While  in  this  situation  his 
patron  conceived  the  design  of  dismissing  the  band,  and  Haydn  composed 
the  famous  symphony  known  as  Haydn  s  Farewell^  in  which  one  instrument 
after  another  becomes  mute,  and  each  musician,  as  soon  as  he  has  ceased  to 
play,  puts  out  his  light,  rolls  up  his  music,  and  departs  with  his  instrument. 
It  is  said  that,  in  consequence,  the  Prince  changed  his  mind  and  did  not 
dismiss  the  band.  After  Esterhazy's  death,  in  1 790,  Haydn  accompanied 
Salomon,  the  violinist,  to  England,  where,  in  1791-92,  he  produced  six  of 
his  "Twelve  Great  Symphonies."  His  reception  was  brilliant  in  the 
highest  degree.  In  1794  he  paid  a  second  visit,  and  brought  out  the  six 
remaining  symphonies.  In  England  he  first  obtained  the  recognition  which 
he  afterwards  received  in  his  own  country.  On  his  return  to  Austria  he 
resided  in  the  suburbs  of  Vienna,  and  composed  his  oratorios,  The  Creation 
and  The  Seasons.    He  died  on  May  31st,  1809. 

Half  length,  life  size,  facing  to  the  right,  seated  at  a  piano ;  short  grey  wig  with  side  curls  ; 
dark  red  coat  and  white  ruff the  left  hand  resting  on  the  piano,  the  right  holding  a  quill  pen  ; 
dark  background  ;  unfinished. 

On  canvas,  36  in.  high  by  28  in.  wide. 
56 


No.  63 


MISS  JANE  HODGSON 
Sir  Henry  Raeburn,  R.A. 


62.  JOHN    PEYTO,   FOURTEENTH    LORD  WILLOUGHBY 

DE  BROKE,  WITH  HIS  WIFE  AND  THREE  CHILDREN. 

JOHANN  ZOFFANY,  R.A. 

Lent  by  Lord  Willoughby  de  Broke. 

John  Peyto,  fourteenth  Lord  Willoughby  de  Broke,  was  born  in  1738. 
He  was  a  son  of  John,  third  son  of  George,  the  twelfth  Baron  (an  eminent 
lawyer,  who,  after  filling  the  offices  of  Attorney-General  to  Queen  Caroline, 
and  Chief  Justice  of  Chester,  was  nominated  Master  of  the  Rolls  in  1738), 
and  of  Abigail,  only  daughter  of  Edward  Harley,  of  Eyewood,  co.  Hereford. 
He  succeeded  his  uncle  Richard,  the  thirteenth  Baron,  in  1752.  He 
married,  in  1761,  Lady  Louisa  North,  daughter  of  the  first  Earl  of 
Guilford.  {See  note  to  No.  1 8,  her  portrait,  by  Romney.)  Their  three 
children  were  John  Peyto,  his  successor  ;  Henry,  the  sixteenth  Baron,  who 
married,  in  1829,  Margaret,  third  daughter  of  Sir  John  Williams,  of 
Boddelwyddan  ;  and  Louisa,  who  married,  in  1793,  the  Rev.  Robert 
Barnard,  Prebendary  of  Winchester,  and  became  mother  of  Robert  John, 
the  seventeenth  Baron. 

An  interior,  with  a  family  group  of  small  full-length  figures.  The  lady  is  seated  at  a  table, 
upon  which  is  a  silver  urn  and  a  service  of  tea  things,  white  table  cloth,  etc^ ;  she  holds  the 
youngest  child,  who  stands  with  one  foot  on  the  table,  against  her  right  shoulder.  Lord 
Willoughby  leans  against  the  back  of  her  chair,  and  shakes  his  finger  at  the  second  child, 
standing  on  the  left  side  of  the  table,  and  helping  itself  to  a  piece  of  hot  buttered  toast ;  on  the 
right  the  third  child  is  dragging  a  red  wooden  horse  on  wheels  ;  Lady  Willoughby  in  a  blue 
silk  dress,  powdered  hair,  large  pearl  earrings,  long  white  mittens,  and  blue  and  white  rufft 
round  neck  ;  Lord  Willoughby  in  short  white  wig  with  sidecurls,  brown  coat  and  breeches,  red 
waistcoat  heavily  trimmed  with  deep  gold  lace,  white  stockings ;  the  children  in  long  white 
dresses,  short  sleeves,  blue  or  pink  sashes,  and  red  morocco  shoes ;  on  the  left  a  fire  burning  in 
an  open  grate,  and  over  the  carved  chimneypiece  a  landscape  in  the  style  of  Joseph  Vernet ;  a 
curtain  on  the  right  {see  illustration). 

On  canvas,  40  in.  high  by  50  in.  wide. 

63.  MISS  JANE  HODGSON,  afterwards  Mrs.  William  Giles. 

'  ^-'IM  ^^^(  "1^] 

SIR  HENRY  RAEBURN,  R.A.        ^    '  ^ 
Lent  by  Lockett  JgneWy  Esq.  ' 


Miss  Jane  Hodgson  was  a  cousin  of  Lord  EUenborough,  and,  like  him, 
was  descended  from  William  Christian,  of  Ewanrigg  Hall,  Cumberland, 

57 


and  was  related  to  most  of  the  leading  families  of  that  county.  She  was 
sister  to  Colonel  James  Hodgson,  of  the  East  India  Company,  and  married 
Captain  William  Giles. 

Half  length,  life  size,  facing  the  spectator,  looking  towards  the  left  ;  brown  hair  curling 
over  the  forehead,  and  a  gauze  veil  which  falls  upon  the  shoulders ;  black  velvet  dress  cut  square 
at  the  neck,  with  transparent  muslin  front  and  ruff ;  dark  background  {see  illustration). 

On  canvas,  30  in.  high  by        in.  wide. 


64.    JAMES  QUIN.  THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  His  Majesty  the  King. 

James  Quin,  the  celebrated  actor,  though  of  Irish  descent,  was  born  in 
London  on  February  23rd,  1693.  He  made  his  first  appearance  on  the 
stage  at  Dublin  in  17 14,  as  "Abel,"  in  The  Committee.  Shortly  after  he 
went  to  London  and  played  inferior  parts  at  Drury  Lane.  His  first  success 
was  in  171 6  as  "Bajazet,"  in  the  once  famous  play  of  'Tamerlane.  In  the 
following  year  he  went  to  Mr.  Rich's  theatre  at  Lincoln's  Inn  Fields,  where 
he  remained  seventeen  years.  Shortly  after  leaving  Drury  Lane  he  had  the 
misfortune  to  kill  a  brother-actor  in  a  duel,  which  damaged  his  reputation 
for  a  time.  His  finest  parts  are  said  to  have  been  "  Captain  Macheath,"  in 
The  Beggar  s  Opera^  and  FalstafF,"  in  The  Merry  Wives  of  Windsor.  In 
1734  he  was  back  at  Drury  Lane,  and  until  Garrick  appeared  on  the  scene 
in  1 74 1,  he  was  by  common  consent  allowed  to  be  the  finest  actor  in 
England.    He  retired  in  1751,  and  resided  at  Bath  until  his  death  in  1766. 

He  was  a  very  witty,  though  coarse,  teller  of  stories,  and  many  of  his  jests 
are  still  repeated.  Smith,  in  his  "  Life  of  NoUekens,"  tells  the  following 
story  of  him  : — "  Quin  and  Hayman  were  inseparable  friends,  and  so 
convivial  that  they  seldom  parted  till  daylight.  One  night,  after '  beating 
the  rounds,'  they  attempted,  arm  in  arm,  to  cross  a  kennel,  into  which  they 
both  fell,  and  when  they  had  remained  there  a  minute  or  two,  Hayman, 
sprawling  out  his  shambling  legs,  kicked  Quin.  *  Hallo  !  What  are  you  at 
now  } '  stuttered  Quin.  'At  }  why  endeavouring  to  get  up,  to  be  sure,' 
replied  the  painter,  '  for  this  don't  suit  my  palate.'  *  Poh  ! '  replied  Quin, 
'  remain  where  you  are,  the  watchman  will  come  by  shortly,  and  he  will  take 
us  both  up.' " 

Gainsborough  painted  Quin's  portrait  at  Bath  in  1763.  According  to 
Fulcher,  the  actor  was  with  difl^culty  persuaded  to  sit.  "  '  If  you  will  let 
me  take  your  likeness,'  said  the  painter  jocosely,  '  I  shall  live  for  ever.' 

58 


No.  64 


JAMES  QUIN 
Thomas  G.\insi3oroic;ii,  R.A. 


And  the  modest  actor  then  consented  to  allow  him  the  privilege  of  handing 
his  features  down  to  posterity.  Quin  is  represented  sitting  in  an  armchair 
with  a  volume  of  plays  in  his  hand.  We  fancy  he  is  divining  some  passage 
in  the  immortal  Bard,  studying  perchance  his  favourite  drama,  Henry  the 
Eighth.  The  light  let  in  from  an  open  window  falls  full  upon  his  face, 
which  has  wonderful  expression.  We  will  not  say  the  actor  breathes — he 
thinks."  This  full-length  portrait  was  exhibited  at  the  Society  of  Arts  in 
1 763,  and  at  the  British  Institution  in  1 8 1 5,  when  it  was  lent  by  J.  Wiltshire, 
of  Shockerwick,  a  son  of  the  Bath  carrier  who  always  refused  to  take 
payment  for  carting  Gainsborough's  pictures  to  the  London  exhibitions,  and, 
in  return,  received  several  fine  works  from  the  hand  of  that  lavish  artist. 

Head,  life  size,  facing  spectator,  looking  to  the  left  ;  large  grey  curling  wig  ;  red  coat  and 
white  neckcloth  ;  dark  background  ;  unfinished  ;  on  canvas  with  a  red  ground  (see  illustration). 

On  canvas,  aj-J-  in.  high  by  20  in.  wide. 

65.  MRS.  EARLE.  SIR  THOMAS  LAWRENCE,  P.R.A. 

Lent  by  Lionel  Earle^  Esq. 

Half  length,  life  size,  seated  facing  to  the  left,  full  face  ;  very  dark  brown  curly  hair  and 
brown  eyes  ;  low-necked  dress  of  white  satin  with  short  sleeves ;  pale  pink  waistband,  into  which 
a  rose  is  tucked  ;  dark  landscape  background. 

On  canvas,  30  in.  high  by  24  in.  wide. 

Exhibited  at  the  New  Gallery,  Winter  Exhibition,  1 899-1900,  No.  175. 

66.  MISS  ELIZABETH  HOARE. 

THOMAS  BARBER,  of  Nottingham. 

Lent  by  the  Corporation  of  Nottingham. 

Miss  Elizabeth  Hoare,  daughter  of  Mr.  John  Hoare,  of  Derby, 
married  John  Rawson  Walker,  the  landscape  artist,  of  Nottingham,  at  All 
Saints'  Church,  Derby,  in  1829.  This  portrait  was  painted  three  years 
previously,  in  1826,  when  the  lady  was  eighteen.  Her  husband,  born  in 
1796,  died  in  Birmingham  on  August  27th,  1873. 

Half  length,  facing  the  spectator  ;  black  curly  hair ;  white  low-necked  muslin  dress  with 
pink  silk  waistbelt,  gold  chain  round  neck,  to  which  are  attached  seals,  and  a  watch  tucked  into 
waistbelt  ;  landscape  background. 

59 


On  canvas,  29^  in.  high  by  24-^  in.  wide. 


Exhibited  in  the  Nottingham  Art  Gallery,  Exhibition  of  the  Works  of  Thomas  Barber 
and  J.  Rawson  Walker,  1893,  No.  14. 

67.  PORTRAIT  OF  TWO  BOYS. 

SIR  HENRY  RAEBURN,  R.A. 

Lent  by  Leopold  Hirschy  Esq. 

These  boys  are  supposed  to  be  members  of  the  family  of  Allen  of 
Errol. 

Full-length  figures  of  two  boys  in  a  landscape,  life  size.  The  boy  on  the  left  is  seated 
across  the  arm  of  a  rustic  wooden  bench,  with  the  left  leg  hanging  down,  and  the  right  foot 
resting  on  the  seat.  In  his  right  hand  he  holds  up  a  large  black  hat  with  a  hole  in  the  crown, 
at  which  the  second  boy,  who  stands  on  the  right  with  his  arm  round  his  brother,  is  thrusting 
a  long  stick  held  in  the  left  hand.  Both  boys  have  long  brown  hair  falling  on  the  shoulders, 
dark  green  coats  with  large  gilt  buttons,  red  and  white  striped  waistcoats,  buff  breeches,  white 
stockings,  and  black  shoes  with  silver  buckles  ;  trees  in  the  background  (see  illustration  J. 

On  canvas,  60  in.  high  by  45  in.  wide. 

Exhibited  in  the  Royal  Pavilion,  Paris  International  Exhibition,  1900. 
At  the  Corporation  of  London  Art  Galleries,  Guildhall,  1902,  No.  67. 

68.  ELIZABETH,  DUCHESS  COUNTESS  OF  SUTHERLAND. 

JOHN  HOPPNER,  R.A. 

Lent  by  the  Duke  of  Sutherland,  K.  G. 

She  was  the  daughter  and  only  surviving  child  of  William,  seventeenth 
Earl  of  Sutherland  (i 736-1 766).  Her  mother  was  a  Maxwell,  and  a  great 
beauty.  She  was  born  in  1765,  and  lost  both  parents  in  the  following  year, 
when  she  succeeded  to  the  vast  estates,  and  was  acknowledged  Countess  of 
Sutherland  and  Baroness  of  Strathnaver  in  her  own  right.  Robertson,  the 
historian,  directed  her  studies,  and  Sir  Walter  Scott  has  recorded  in  his 
diary  his  delight  at  seeing  the  little  heiress  cantering  alongside  the  carriage 
of  old  Lady  Alva,  her  grandmother  and  guardian.  In  her  ancestral  home, 
Dunrobin  Castle,  the  old  feudal  customs  still  obtained.  The  youthful 
Countess,  surrounded  by  retainers,  heard  every  evening,  before  the  castle 
gates,  the  plaints  of  her  clansmen,  and  settled  their  quarrels.    She  was  an 

60 


No.  67 


TWO  BOYS  IN  A  LANDSCAPE 
Sir  Henry  Raeburn,  R.A. 


excellent  artist,  and  some  of  her  water-colour  landscapes  of  scenes  in 
Sutherland  would  not  disgrace  some  of  the  best  artists  of  her  day.  In 
1 793  she  raised  a  regiment  for  the  defence  of  the  North  against  the 
French  ;  and  this  regiment  is  now  known  as  the  Sutherland  and  Argyll 
Highlanders — the  famous  old  93rd.  In  1 785  she  married  George  Gran- 
ville, Lord  Trentham,  afterwards  second  Marquess  of  Stafford,  who,  in 
1833,  was  created  first  Duke  of  Sutherland,  and  hence  she  is  always  called 
the  Duchess  Countess.  She  was  the  mother  of  George  Granville,  second 
Duke,  who  resumed  the  ancient  surname  of  the  family — Sutherland.  She 
died  January  29th,  1839,  and  was  buried  in  the  Cathedral  of  Dornoch. 

The  portrait  of  her,  by  Hoppner,  exhibited  here,  was  in  the  Royal 
Academy  in  1799.  Her  portrait,  and  that  of  her  husband,  by  George 
Romney,  were  exhibited  in  the  Birmingham  Art  Gallery  in  1900,  lent  by 
the  Duke  of  Sutherland. 

Half  length,  life  size,  facing  the  spectator  ;  dark  brown  hair  curling  on  forehead,  tied  with 
a  blue  ribbon  ;  brown  dress,  with  cross-over  bodice  open  at  neck  ;  dark  background  {jte 
illustration). 

On  canvas,  30  in.  high  by  24  in.  wide. 

Exhibited  at  the  Royal  Academy,  1 799. 

69.    MASTER  JOHN  CREWE  AS  HENRY  VIII. 

SIR  JOSHUA  REYNOLDS,  P.R.A. 

Lent  by  the  Earl  of  Crewe. 

John,  second  Baron  Crewe,  of  Crewe  Hall,  Cheshire,  was  born  in  1772. 
He  was  the  son  of  John  Crewe  (i 742-1 829),  created  first  Baron  in  1806, 
and  M.P.  for  Stafford  and  Cheshire,  who  married  Frances  Anne,  daughter 
of  Fulke  Greville,  of  Wilbury,  Wilts,  author  of  Maxims  and  Characters.,  on 
April  4th,  1766.  John,  second  Baron,  who  succeeded  his  father  in  1829, 
became  a  Lieutenant-General  in  the  army,  and  married,  in  1807,  Henrietta 
Maria  Anne,  daughter  of  John  Hungerford  Keate.  She  died  in  1820,  and 
Lord  Crewe  in  1835. 

Sir  Joshua  painted  his  mother,  the  lovely  Mrs.  Crewe,  a  number  of  times. 
She  was  the  friend  of  Sheridan,  Burke,  Fox,  Reynolds  and  all  the  leading 
Whigs.  When  she  was  sixteen  and  still  Miss  Greville,  he  painted  her  with 
her  young  brother  as  "  Cupid  and  Psyche."  In  1769,  at  the  first  exhibition 
of  the  Royal  Academy,  one  of  his  pictures  was  the  beautiful  "  Mrs. 
Bouverie  and  Mrs.  Crewe,"  while  in  1772  he  painted  her  as  St.  Genevieve, 

61 


with  her  sheep  round  her.  It  was  at  her  house  in  Lower  Grosvenor  Street 
that  the  great  Whig  triumph  at  the  Westminster  election  of  1784  was 
celebrated  by  a  splendid  entertainment,  at  which,  on  the  Prince  of  Wales 
giving  the  toast,  "True  blue,  and  Mrs.  Crewe,"  the  lady  in  reply  gave, 
"  True  blue,  and  all  of  you." 

Miss  Fanny  Burney  paid  a  visit  with  her  father  to  Mrs.  Crewe,  at 
Hampstead,  in  June,  1792,  when  Master  John  Crewe  had  just  reached 
manhood.  She  says  : — "  We  were  received  by  Mrs.  Crewe  with  much 
kindness.  The  room  was  rather  dark,  and  she  had  a  veil  to  her  bonnet, 
half  down,  and  with  this  aid  she  looked  still  in  a  full  blaze  of  beauty.  I 
was  wholly  astonished.  Her  bloom,  perfectly  natural,  is  as  high  as  that  of 
Augusta  Locke  when  in  her  best  looks,  and  the  form  of  her  face  is  so 
exquisitely  perfect  that  my  eye  never  met  it  without  fresh  admiration.  She 
is  certainly,  in  my  eyes,  the  most  completely  a  beauty  of  any  woman  I  ever 
s  aw.  I  know  not,  even  now,  any  female  in  her  first  youth  who  could  bear 
the  comparison.    She  uglifies  everything  near  her. 

"  Her  son  was  with  her.  He  is  just  of  age,  and  looks  like  her  elder 
brother  !  he  is  a  heavy,  old-looking  young  man .  He  is  going  to  China 
with  Lord  Macartney."  Later  on  Miss  Burney  was  taken  by  Mrs.  Crewe 
"  to  see  Lord  Macartney's  chariots  for  the  Emperor  of  China.  Mrs. 
Crewe  is  particularly  interested  in  all  that  belongs  to  this  Embassy,  both 
because  her  son  will  accompany  it,  and  because  Lord  Macartney  is  her 
intimate  friend,  as  well  as  near  relation.  I  leave  to  the  newspapers  your 
description  of  these  superb  carriages." 

This  portrait,  one  of  the  master's  most  consummate  boy-pictures,  both 
in  colour  and  characterisation,  was  in  the  Royal  Academy  Exhibition  of 
1776,  when  the  sitter  was  four  years  old.  Horace  Walpole  wrote  of  this 
picture  :  "  Reynolds  has  been  accused  of  plagiarism  for  having  borrowed 
attitudes  from  ancient  masters.  Not  only  candour  but  criticism  must  deny 
the  force  of  the  charge.  When  a  single  posture  is  imitated  from  an  historic 
picture,  and  applied  to  a  portrait,  in  a  different  dress,  and  with  new 
attitudes,  this  is  not  plagiarism  but  quotation  ;  and  a  quotation  from  a  great 
author,  with  a  novel  application  of  the  sense,  has  always  been  allowed  to  be 
an  instance  of  parts  and  taste,  and  may  have  more  merit  than  the  original. 
Is  there  not  humour  and  satire  in  Sir  Joshua's  reducing  Holbein's 
swaggering  and  colossal  haughtiness  of  Henry  VIII.  to  the  boyish  jollity  of 
Master  Crewe  One  prophecy  I  will  venture  to  make  :  Sir  Joshua  is  not 
a  plagiary,  but  will  beget  a  thousand.  The  exuberance  of  his  invention 
will  be  the  grammar  of  future  painters  of  portraits." 

Full-length  portrait  of  a  little  boy,  life  size,  standing  facing  the  spectator,  in  the  costume 
and  attitude  of  Holbein's  portrait  of  Henry  VIII.  ;  long  brown  hair  over  ears ;  dress  richly 
embroidered  with  gold  and  enriched  with  jewels,  and  wearing  a  jewelled  chain  with  pendant  watch  ; 
62 


No.  69 

MASTER  CREWE  AS  HENRY  \  II1. 
Sir  Joshua  Reynolds,  P.R.A. 


dagger  at  waist  ;  red  cloak  trimmed  with  fur  ;  red  shoes,  white  hose  and  jewelled  Garter.  On 
the  left  a  low  seat  with  a  green  coat  flung  across  it ;  a  spaniel  on  the  left  is  sniffing  at  the  boy's 
right  leg,  while  another,  on  the  right,  is  biting  itself  on  the  back  ;  a  wall  of  a  building  in  the 
background,  with  sky  and  trees  on  the  extreme  right  (see  illustration). 

On  canvas,  56  in.  high  by  44  in.  wide. 

Painted  in  \'jjt,-y6. 

Engraved  by  J.  R.  Smith,  1776. 

Exhibited  at  the  Royal  Academy,  1776. 

British  Institution,  1813,  1833,  1843,  1852  and  1866. 

Royal  Academy,  Winter  Exhibition,  1895,  No.  112. 

Grafton  Galleries,  1895. 

70.    GEORGE  IV.,  WHEN  PRINCE  OF  WALES. 

THOMAS  GAINSBOROUGH,  R.A. 

Lent  by  Lord  Iveagh,  K.P. 

George  Augustus  Frederick,  Prince  of  Wales,  eldest  son  of  George  III,, 
was  born  on  August  12th,  1762.  He  married  Princess  Caroline  of 
Brunswick- Wolfenbiittel  in  1795.  ( For  her  portrait  see  No.'ji,  and  note.) 
He  succeeded  his  father  in  1820,  having  previously  acted  as  Regent.  He 
died  on  June  26th,  1830,  and  was  succeeded  by  his  brother,  the  Duke  of 
Clarence,  as  William  IV. 

In  1780  he  was  provided  with  a  separate  establishment  in  a  part  of 
Buckingham  House,  and  was  forthwith  launched  upon  the  town.  He 
immediately  became  closely  attached  to  Fox  and  the  Whigs,  his  partisanship 
being  undisguised,  and  at  times  indecent.  He  was  at  this  time  stout,  of  a 
florid  complexion,  with  gracious  and  engaging  manners,  considerable  social 
facility,  and  some  accomplishments.  He  sang  agreeably,  played  on  the 
violoncello,  dressed  extravagantly,  quoted  poetry,  and  conversed  in  French 
and  Italian.  He  fell  under  the  influence  of  the  Duke  of  Cumberland  and 
the  Due  de  Chartres,  gamed  and  drank,  and  was  so  extravagant  that  he 
spent  ;^io,ooo  on  his  clothes  in  a  year.  In  1780  he  became  involved  in  an 
intrigue  with  the  beautiful  actress  Mary  Robinson  ("  Perdita  "),  and 
provided  her  with  a  splendid  establishment,  and  when  the  connection 
terminated  two  years  later  she  obtained  from  him  his  bond  for  ^^20,000, 
which  she  afterwards  surrendered.    He  left  her  to  want  in  her  latter  days. 

63 


By  the  end  of  1784  he  was  _^  160,000  in  debt.  In  this  year  he  fell 
violently  in  love  with  a  widow,  Mrs.  Fitzherbert,  a  beautiful  and 
accomplished  woman  of  twenty-eight.  She  resisted  his  importunities  for  a 
long  time,  and  to  work  upon  her  feelings  he  stabbed  himself  so  as  to  draw 
plenty  of  blood  without  risking  his  life,  and  sent  complaisant  friends  to 
bring  her  to  see  him  in  this  state  of  despair.  She  then  withdrew  to 
Holland,  where  he  persecuted  her  with  endless  couriers  and  correspondence. 
His  ardour,  indeed  passed  all  bounds.  He  would  go  to  Fox's  mistress, 
Mrs.  Armstead,  to  tell  her  of  his  love,  cry  by  the  hour,  beat  his  brow,  tear 
his  hair,  roll  on  the  floor,  and  fall  into  fits  of  hysterics.  When  at  length 
the  lady  gave  way  he  was  secretly  married  to  her  on  December  21st,  1785. 
(Dictionary  of  'National  Biography.)  Greville  says  of  him:  "A  more 
contemptible,  cowardly,  unfeeling,  selfish  dog  does  not  exist  than  this 
king." 

Half  length,  life  size,  facing  spectator  ;  powdered  hair  ;  dark  blue  coat  with  gold  buttons 
stamped  with  the  Prince  of  Wales'  feathers,  buff  waistcoat,  and  white  neckcloth  ;  background 
of  landscape  and  sky.  , 

On  canvas,  oval,  27^  in.  high  by  23jin  wide. 

A  picture  similar  to  this  was  in  the  Grosvenor  Gallery,  Gainsborough  Exhibition,  1885, 
lent  by  Mr.  Wentworth  Blackett  Beaumont,  which  was  purchased  at  the  sale  of  Mr.  Sam 
Mendel,  of  Manley  Hall,  in  1875. 

71.    PRINCESS     CAROLINE      AMELIA     ELIZABETH  OF 
BRUNSWICK-WOLFENBUTTEL,   Wife  of  George  IV. 

SIR  THOMAS  LAWRENCE,  P.R.A. 
Lent  by  the  Victoria  and  Albert  Museum. 

Daughter  of  Charles  William  Ferdinand,  Duke  of  Brunswick- Wolfen- 
biittel,  and  Augusta,  Princess  Royal  of  England,  sister  of  George  III.  She 
was  born  in  1768,  and  married  her  cousin,  George,  Prince  of  Wales, 
afterwards  George  IV.,  in  1795,  and  became  mother  of  the  Princess 
Charlotte.  The  marriage  was  most  unhappy,  and  a  separation  took  place, 
after  the  birth  of  the  Princess,  in  1796.  In  18 14  she  obtained  permission 
to  travel  on  the  Continent,  and  did  not  return  to  England  until  the 
accession  of  George  IV.  in  1820.  She  was  proceeded  against  by  a  Bill  of 
Pains  and  Penalties  in  the  House  of  Lords,  which,  on  account  of  the  splendid 
defence  of  Brougham,  the  Ministry  were  obliged  to  abandon.  She  was, 
however,  prevented  from  occupying  her  position  as  Queen,  and  was  turned 

64 


away  from  Westminster  Abbey  at  the  Coronation.  She  died  at  Brandenburg 
House,  Hammersmith,  on  August  7th,  1 821,  a  few  days  after  the  coronation 
of  her  husband,  and  was  buried  at  Brunswick. 

Sir  Thomas  Lawrence  painted  her  several  times.  The  one  exhibited  here 
is  dated  1798,  and  another  portrait  of  her  with  the  Princess  Charlotte  was 
exhibited  in  the  Royal  Academy  in  1802.  About  this  time  Lawrence  saw 
a  good  deal  of  the  Princess,  who  was  living  at  Blackheath.  The  differences 
between  this  lady  and  the  Prince  of  Wales  were  well  known  to  the  town. 
"  The  public  began  to  take  a  warm  interest  in  the  subject.  The  King  and 
the  nation  espoused  the  cause  of  the  Princess,  who  resided  with  her 
daughter  at  Blackheath.  Since  Mr.  Lawrence  had  taken  the  portraits  of  the 
Princess  and  the  Princess  Charlotte,  in  1 802,  he  had  become  very  intimate  at 
Montague  House,  and  fame  was  busy  in  attributing  his  visits  to  improper 
motives.  .  .  Mr.  Lawrence  was  extremely  annoyed  at  the  detractions 
circulated  respecting  him.  His  amiable  manners  and  cheerfiil  conversation 
must,  among  the  society  of  Montague  House,  have  been  a  solace  and  an 
inestimable  acquisition  to  a  lady  circumstanced  so  unhappily  as  the  Princess. 
A  prurient  disposition  to  slander,  upon  such  subjects,  may  deprive  men  or 
females  of  all  society  but  that  of  their  own  sex,  and  rob  the  middle  and 
decline  of  life  of  its  most  innocent  and  best  associations.  To  such  a  degree 
was  Mr.  Lawrence  annoyed  on  the  subject,  that  in  the  ensuing  year,  i  806, 
when  what  was  termed  the  Delicate  Investigation  was  pending,  he  offered 
himself  to  any  scrutiny  that  the  Commissioners  might  wish  to  subject  him 
to.  Upon  the  Commissioners  making  their  report  to  the  King,  on  14th 
July,  1 806,  though  the  Princess  was  fully  acquitted  of  criminality,  her 
manners  and  conduct  were  impugned  as  of  more  levity  than  was  acceptable 
in  the  society  of  this  country.  As  this  last  opinion  or  charge  of  levity 
alluded  to  the  Princess's  conduct  towards  Mr.  Lawrence  and  another 
gentleman,  the  former  was  so  ill-advised  as  to  make  an  affidavit  upon  the 
subject."  ("  Life  of  Sir  Thomas  Lawrence,''  by  D.  E  Williams.)  This 
affidavit  and  other  details  are  given  in  Mr.  Williams'  book. 

Inscribed  on  the  back  :  "Caroline,  Princess  of  Wales,  painted  by  Thos. 
Lawrence,  Esq.,  1798,  and  given  to  Lady  Anne  Hamilton  in  1820." 

Three-quarter  length,  life  size,  facing  the  spectator  ;  fair  hair  curling  on  foreliead,  and 
white  bonnet,  with  red  and  black  flowers,  tied  under  chin  ;  white  low-necked  dress  with  short 
sleeves  ;  the  right  elbow  leaning  on  a  rock  and  the  hand  holding  the  bonnet  ;  the  left  arm  at 
her  side,  holding  a  wrap  or  cloak  ;  landscape  background,  with  trees  and  a  dark  sky. 

On  canvas,  50  in.  high  by  48  in.  wide. 


65 


BIOGRAPHICAL  NOTICES  OF  THE  ARTISTS. 


Thomas  Barber,  of  Nottingham. 

Thomas  Barber  was  born  in  Nottingham  on  the  28th  March,  1771.  He 
displayed  such  artistic  skill  at  an  early  age,  that  his  friends  secured  him  a 
pupil's  place  in  the  studio  of  Sir  Thomas  Lawrence,  of  whom  he  became  an 
ardent  and  devoted  follower.  He  resided  for  several  years  at  Derby,  in 
middle  age,  but  returned  to  Nottingham  some  time  before  his  death.  He 
had  many  tempting  offers  to  settle  in  London,  but  he  preferred  the  more 
rural  life  of  the  Midlands,  or  otherwise  he  would,  in  all  probability,  have 
been  elected  a  member  of  the  Royal  Academy.  It  is  said  that  Lawrence 
assured  him  that  in  such  a  case  he  would  probably  be  elected  as  his  successor 
in  the  Presidency.  His  work  was  chiefly  portraiture,  but  he  occasionally 
painted  landscapes,  and  an  altar-piece  of  his,  representing  "  The  Agony  in 
the  Garden,"  was  formerly  in  St.  Peter's  Church,  Nottingham.  His 
portrait  of  Mrs.  Siddons  was  exhibited  at  the  Royal  Academy  in  1819,  and 
he  painted  many  other  persons  of  high  rank  in  society,  art,  and  literature, 
including  Sir  Thomas  Lawrence,  Lieut.-Col.  Desbrowe,  M. P.,  vice-chamber- 
lain to  Queen  Charlotte,  and  James  Montgomery  and  Henry  Kirke  White, 
the  poets.  His  own  portrait  was  painted  by  Lawrence.  Most  of  his  work 
was  painted  away  from  home,  and  he  was  a  welcome  guest  at  many  a  country 
house  in  the  Midlands,  which  he  visited  professionally,  as  he  was  a  clever 
musician,  and  an  interesting  and  entertaining  talker.  He  was  twice  married, 
and  his  eldest  son,  Thomas,  gave  great  promise  as  a  portrait  painter,  but 
died  at  the  early  age  of  28.  Barber  himself  died  at  Parkside,  Nottingham, 
on  September  12th,  1843,  in  73^^  year.  A  large  collection  of  his 
portraits  was  exhibited  in  the  Corporation  Art  Gallery  of  Nottingham  in 

1893. 
66 


John  Constable,  R.A. 


John  Constable,  R.A.,  the  celebrated  landscape  painter,  was  born  at  East 
Bergholt,  SufFolk,  on  June  iith,  1776.  At  an  early  age  he  displayed  great 
fondness  for  art.  After  a  few  years  spent  in  learning  his  father's  trade  as  a 
miller,  he  entered  the  Royal  Academy  Schools  in  1799,  and  from  that  time 
until  his  death  he  devoted  himself  to  the  unceasing  study  and  portrayal  of 
the  scenery  of  rural  England.  It  is  not  the  place  here  to  speak  of  his 
achievements  in  landscape  art  in  any  detail.  In  18 19  he  exhibited  his 
picture  familiarly  known  as  "  The  White  Horse,"  and  was  elected  an  A.R.A., 
followed  in  1821  by  "The  Hay  Wain."  In  1824  three  of  his  pictures 
were  exhibited  in  Paris,  where  they  were  received  with  great  enthusiasm. 
In  1826  he  painted  "The  Cornfield,"  and  in  1829  was  elected  R.A.  He 
died  in  1837,  and  was  buried  at  Hampstead.  At  various  times  during  his 
life  Constable  painted  a  number  of  portraits,  with  a  fair  measure  of  success. 
His  relations  were  anxious  that  he  should  devote  himself,  as  a  young  man, 
to  this  more  remunerative  branch  of  art,  but  his  love  of  nature  was  too 
strong,  and  his  whole  heart  was  centred  in  his  landscapes.  In  18 12  he 
painted  portraits  of  his  uncle,  Mr.  David  P.  Watts,  and  of  Dr.  Fisher, 
Bishop  of  Salisbury.  These  portraits  were  so  much  approved,  that  his 
mother  wrote  to  him  : — *'  Fortune  seems  now  to  place  the  ball  at  your  foot, 
and  I  trust  you  will  not  kick  it  from  you.  You  now  so  greatly  excel  in 
portraits  that  I  hope  you  will  pursue  a  path  the  most  likely  to  bring  you  fame 
and  wealth."  Among  his  other  sitters  were  Sir  Thomas  and  Lady  Lennard, 
the  Rev.  George  Bridgman,  brother  of  Lord  Bradford,  General  and  Mrs. 
Rebow  and  their  daughter,  and  members  of  his  own  family,  while  the 
National  Portrait  Gallery  possesses  one  of  himself  by  his  own  hand. 


J.  S.  Copley,  R.A. 

Copley  was  born  at  Boston,  United  States,  on  July  3rd,  1737,  of  English 
and  Irish  parentage,  a  few  days  after  the  arrival  of  his  parents  in  America. 
He  was  probably  taught  the  rudiments  of  his  art  by  his  step-father,  Peter 
Pelham,  a  portrait  painter  and  mezzotinter.  In  1753,  when  only  16,  he 
painted  and  also  engraved  a  portrait  of  the  Rev.  William  Welstecd,  of 
Boston.  In  1760  he  sent  to  the  first  exhibition  of  the  Society  of  Artists  in 
London  his  picture  of  "  A  Boy  with  a  Squirrel,"  and  continued  to  send  over 
works,  being  elected  a  member  of  the  Society  in  1767.  In  1774  he  came 
to  England,  and  settled  in  London,  never  returning  to  America  again.  His 

67 


first  contributions  to  the  Royal  Academy  were  chiefly  portraits  and  family 
groups,  and  it  was  in  this  branch  of  art  that  he  achieved  his  greatest  success. 
He  was  elected  an  A.R.A.  in  1776,  and  a  full  member  in  1779. 
painted  many  large  historical  works  which  had  great  popularity.  Among 
them  were  "  The  Death  of  Lord  Chatham  "  and  "  The  Death  of  Major 
Peirson,"  both  now  in  the  National  Gallery  ;  "  Charles  I.  ordering  the 
arrest  of  the  Five  Members  of  the  House  of  Commons  "  ;  "  The  Siege  and 
Relief  of  Gibraltar,"  in  the  Guildhall,  a  commission  from  the  city  ;  "  The 
Assassination  of  Buckingham,"  etc.  He  died  on  September  9th,  181 5,  and 
was  buried  at  Croydon.  He  was  the  father  of  Lord  Chancellor  Lyndhurst. 
Many  important  portraits  and  sketches,  including  his  last  portrait  of  him- 
self, were  destroyed  by  the  great  fire  at  Boston  in  1872. 


Francis  Cotes,  R.A. 


Francis  Cotes  was  the  son  of  a  chemist  and  former  mayor  of  Galway, 
who  moved  to  London  in  1720,  owing  to  some  political  trouble.  He  was 
born  in  1726,  and  studied  under  George  Knapton  (1698-177 8).  He  soon 
made  a  name  for  himself  for  his  portraits  in  crayons,  and  also  painted  in  oil 
with  much  skill.  He  became  one  of  the  most  fashionable  artists  of  the  day, 
moving  backwards  and  forwards  between  London  and  Bath  in  the  wake  of 
society.  In  1767  he  painted  "Queen  Charlotte  with  the  Princess  Royal 
on  her  lap,"  which  was  well  engraved  by  Ryland.  For  some  years  he  lived 
at  32  Cavendish  Square,  a  house  afterwards  successively  occupied 
by  Romney  and  Sir  Martin  Archer  Shee.  He  was  one  of  the  original 
members  of  the  Royal  Academy  on  its  foundation  in  1768,  and  also  of  the 
Incorporated  Society  of  Artists.  He  died  in  the  prime  of  life  on  July  20th, 
1770,  owing  to  a  rash  attempt  to  act  as  his  own  doctor,  and  was  buried  at 
Richmond.  His  diploma  picture  at  the  Royal  Academy,  a  portrait  of  his 
father,  is  a  good  specimen  of  his  ability,  while  there  is  a  full-length  of 
Admiral  Hawke  at  Greenwich  Hospital,  and  a  group  of  Mr.  and  Mrs. 
Joah  Bates,  said  to  be  one  of  his  best  pictures,  is  in  the  possession  of  the 
Sacred  Harmonic  Society.  As  a  rule  his  draperies  were  painted  by  Peter 
Toms,  R.A.,  who  is  said  to  have  been  so  affected  by  Cotes'  death,  that  he 
became  a  prey  to  hypochondria  and  committed  suicide  in  1776.  Cotes'  prices 
for  portraits  were  usually  20,  40,  and  80  guineas,  for  half,  three-quarter 
and  whole  lengths  respectively. 

68 


Thomas  Gainsborough,  R.A. 

Thomas  Gainsborough  was  born  at  Sudbury,  in  Suffolk,  in  the  spring  of 
1727.  After  evincing  a  decided  ability  for  landscape  painting,  by  his 
unaided  attempts  from  nature,  he  left  Sudbury  for  London  when  he  was 
fourteen  years  of  age,  and  became  the  pupil  first  of  Gravelot,  the  engraver  ; 
then  of  Francis  Hayman,  at  that  time  a  painter  of  repute,  and,  like 
Gainsborough  himself,  one  of  the  original  members  of  the  Royal  Academy, 
which  was  founded  in  1768.  Gainsborough  set  up  as  a  portrait  and  land- 
scape painter,  in  Hatton  Garden,  but  without  success,  and  after  four  years' 
residence  in  the  metropolis,  he  returned  to  his  native  place.  When  still  a 
youth  he  married  Margaret  Burr,  a  young  lady  of  some  fortune,  and  settled 
in  Ipswich.  One  of  his  first  pictures  which  attracted  notice  was  a  view  of 
Landguard  Fort,  of  which  there  is  a  print  by  Major  ;  the  picture  has 
perished.  His  reputation  extending,  he  settled,  in  1759,  in  Bath,  as  a  more 
suitable  field  for  the  exercise  of  his  abilities.  At  Bath  he  was  busily  engaged 
with  portraiture,  which  subsequently  occupied  the  greater  part  of  his  time. 
In  1774  he  settled  in  London,  and  rented  a  portion  of  Schomberg  House, 
Pall  Mall  ;  from  this  period  his  reputation  was  such  that  he  was  considered 
at  the  same  time  the  rival  of  Sir  Joshua  Reynolds  in  portrait,  and  of  Wilson 
in  landscape,  painting.  In  1779  he  was  at  the  very  height  of  his  fame  ; 
many  of  the  eminent  men  of  the  day  sat  to  him,  and  he  was  the  favourite 
painter  of  the  King  and  Royal  Family.  He  was  one  of  the  original 
members  of  the  Royal  Academy,  and  sent  pictures  to  its  exhibitions  from 
the  commencement  in  1769,  but  ceased  to  contribute  after  1783.  He 
exhibited  altogether  ninety-six  works  at  the  Academy.  He  died  in  London, 
August  2nd,  1788,  and  was  buried  in  Kew  Churchyard.  Shortly  after 
Gainsborough's  death.  Sir  Joshua  Reynolds,  then  President  of  the  Royal 
Academy,  delivered  a  discourse  to  the  students,  of  which  the  '*  Character  of 
Gainsborough  "  was  the  subject.  He  will  always  occupy  one  of  the  highest 
places  in  the  English  school,  whether  as  a  portrait  or  landscape  painter. 
The  principal  features  in  his  character  were  his  kindness  and  his  passionate 
love  of  music. 


John  Hoppner,  R.A. 

John  Hoppner  was  born  in  London  in  1759,  of  German  parentage. 
When  young,  he  was  one  of  the  choristers  of  the  Royal  Chapel  ;  but 
having  a  more  decided  taste  for  art,  he  gave  up  music  for  painting,  and 

69 


entered  as  a  student  in  the  Royal  Academy  in  1775.  He  soon  became, 
through  the  patronage  of  the  Prince  of  Wales,  a  very  fashionable  portrait 
painter  ;  Sir  Thomas  Lawrence  was  for  many  years  his  only  rival.  He  was 
elected  an  Associate  in  1793,  and  a  Member  of  the  Royal  Academy  in 
1795,  and  contributed  166  works  to  its  exhibitions.  Hoppner  died  of 
dropsy  in  18 10,  in  the  fifty-first  year  of  his  age.  Sir  Thomas  Lawrence 
thus  speaks  of  him  in  a  letter  to  a  friend,  shortly  after  the  painter's  death  : 
"  You  will  believe  that  I  sincerely  feel  the  loss  of  a  brother  artist,  from 
whose  works  I  have  often  gained  instruction,  and  who  has  gone  by  my  side 
in  the  race  this  eighteen  years."  His  style  of  portrait  painting  was  founded 
on  a  study  of  the  works  of  Sir  Joshua  Reynolds,  of  whose  imitators  he  was 
by  far  the  best,  although  he  was  far  from  being  a  mere  copyist.  Occasion- 
ally, indeed,  he  imitated  Sir  Joshua's  manner,  and  formed  his  pictures  on 
similar  principles,  but  his  work  had  many  original  graces.  The  prevailing 
fashion  of  the  day,  together  with  his  own  narrow  circumstances,  in  early 
life,  led  him  to  direct  his  attention  almost  exclusively  to  portrait  painting  ; 
but  he  would  have  been  still  more  successful  in  landscape,  as  the  back- 
grounds introduced  in  his  portraits  alone  afford  sufficient  evidence,  without 
considering  the  beautiful  sketches  in  chalk,  with  which  he  was  accustomed 
to  employ  his  leisure  hours. 


Sir  Thomas  Lawrence,  P.R.A. 

Thomas  Lawrence  was  born  May  4th,  1769,  at  Bristol.  He  early 
distinguished  himself  for  his  ability  in  drawing.  His  father  was  landlord  of 
the  Black  Bear  Inn,  Devizes  ;  and  the  first  efforts  of  the  young  painter 
which  attracted  notice  were  some  portraits  in  chalk  of  his  father's  customers. 
At  the  early  age  of  ten  years  he  set  up  as  a  portrait  painter  in  crayons  at 
Oxford  ;  but  he  soon  afterwards  ventured  to  take  a  house  at  Bath,  where 
he  immediately  met  with  much  employment  and  extraordinary  success.  In 
his  seventeenth  year  he  commenced  oil  painting  ;  in  1787,  twelve  months 
afterwards,  he  settled  in  London,  and  entered  himself  as  a  student  in  the 
Royal  Academy.  His  success  in  London  was  as  great  as  it  had  been  in  the 
provinces.  In  1791,  though  under  the  age  required  by  the  laws  (twenty- 
four),  he  was  elected  an  associate  of  the  Academy,  and  after  the  death  of 
Sir  Joshua  Reynolds  in  the  following  year,  he  succeeded  him  as  painter  to 
the  King.  He  painted  at  this  time,  in  his  twenty-third  year,  the  portraits 
of  the  King  and  Queen,  which  were  presented  by  Lord  Macartney  to  the 
Emperor  of  China.  In  1794,  he  was  elected  a  Royal  Academician  ;  he  was 
70 


knighted  by  the  Prince  Regent  in  1 8 1 5  ;  and  at  the  death  of  West,  in 
1820,  he  was  unanimously  elected  President  of  the  Academy.  From  the 
time  of  his  election  as  a  member  of  the  Academy  to  his  death,  Sir  Thomas's 
career  as  a  portrait  painter  was  unrivalled  ;  he  contributed,  from  1787  to 
1830  inclusive,  31 1  pictures  to  the  exhibitions  of  the  Royal  Academy.  He 
died  in  London,  at  his  house  in  Russell  Square,  January  7th,  1830.  He 
was  never  married. 

The  Waterloo  Gallery  at  Windsor  remains  a  noble  monument  of  the 
skill  of  Sir  Thomas  Lawrence  as  a  portrait  painter.  The  pictures  of  the 
Emperor  Francis,  of  Pius  VIL,  and  of  the  Cardinal  Gonsalvi,  in  that 
collection,  are  among  the  masterpieces  of  the  art  of  portraiture.  These  pictures 
were  painted  on  the  Continent  in  the  years  181 8-19.  He  excelled  chiefly 
in  the  portraits  of  ladies  and  children.  He  was  a  member  of  the  Academy 
of  St.  Luke  at  Rome,  and  of  many  other  foreign  academies  ;  and  in  1825, 
he  was  created  a  Chevalier  of  the  "  Legion  d'Honneur." 


John  Opie,  R.A. 

John  Opie  was  born  near  Truro  in  1761.  His  father  was  a  carpenter, 
who  wished  to  bring  him  up  to  the  trade,  but  nothing  would  divert  him 
from  becoming  a  painter.  He  had  already  acquired  some  practice  in 
portrait  painting,  when  his  talent  was  accidentally  discovered  by  Dr.  Wolcott 
("  Peter  Pindar "),  then  living  in  Truro,  who  interested  himself  in  his 
advancement,  and  lent  him  pictures  to  copy  and  study.  His  talents  soon 
became  known  throughout  the  county,  and  he  obtained  considerable 
employment  in  painting  portraits.  In  1780  he  came  to  London  under  the 
auspices  of  Dr.  Wolcott,  where  his  merit  and  the  extraordinary  circumstances 
of  his  early  life  made  him  the  object  of  widespread  interest.  Commissions 
crowded  upon  him,  and  for  some  time  the  "  Cornish  Wonder  "  was  the  rage. 
His  powers,  however,  were  not  calculated  to  flatter  the  frivolities  of  fashion. 
He  was  rarely  susceptible  to  female  grace,  and  his  portraits  of  men  were 
rather  distinguished  by  truthfulness  than  dignity  ;  so  that  the  curiosity 
excited  by  his  story  began  to  subside,  but  as  his  talents  were  not  confined 
to  portraiture,  he  continued  to  meet  with  employment  in  painting  domestic 
and  rustic  scenes.  He  made  illustrations  for  Boydell's  "  Shakespeare  "  and 
other  publications.  His  most  popular  pictures  were  "  The  Murder  of 
James  L  of  Scotland,"  "  The  Death  of  Rizzio,"  "  The  Presentation  in  the 

71 


Temple,"  and  other  historical  and  scriptural  subjects.  He  was  elected  an 
A.R.A.  in  1787,  and  an  R.A.  in  1788,  and  during  the  next  seven  years 
exhibited  twenty  portraits  at  the  Academy,  while  from  1796  he  sent  many 
subject  pictures.  He  succeeded  Fuseli  as  Professor  of  Painting  at  the  Royal 
Academy  in  1806,  but  died  on  April  9th,  1807  ;  and  was  buried  in 
St.  Paul's,  near  Sir  Joshua  Reynolds. 


Sir  Henry  Raeburn,  R.A. 

This  distinguished  portrait  painter  was  born  at  Stockbridge  (a  suburb  of 
Edinburgh),  in  1756.  Left  an  orphan  at  the  age  of  six,  he  was  placed  at 
school  in  "  Heriot's  Waric,"  a  Scotch  educational  establishment.  When 
fifteen  years  old  he  was  apprenticed  to  a  goldsmith,  who,  discovering  the 
boy's  taste  for  drawing,  kindly  encouraged  his  youthful  efforts,  and 
introduced  him  to  a  portrait  painter  named  Martin,  then  of  some  local 
repute  in  Edinburgh.  This  incident  became  the  means  of  confirming 
Raeburn's  choice  of  a  profession,  and  for  a  time  he  supported  himself  by 
miniature  painting.  Martin  lent  him  pictures  to  copy,  but  seems  to  have 
given  him  little  or  no  technical  instruction,  and  in  course  of  time  became, 
it  is  said,  jealous  of  his  rising  talent.  At  any  rate  the  connection  was 
abruptly  terminated.  Raeburn  pursued  his  studies  alone,  and,  having 
married  advantageously  at  the  age  of  twenty-two,  went  to  London,  where 
he  made  the  acquaintance  of  Sir  Joshua  Reynolds,  who  advised  him  to  study 
the  works  of  Michael  Angelo. 

Raeburn  visited  Italy  with  his  wife,  and  after  two  years'  residence  in  that 
country  returned  to  Scotland,  and  soon  established  himself  as  a  portrait 
painter  in  Edinburgh.  There  he  painted  the  portraits  of  the  eminent 
group  of  Scotsmen  who  adorned  literature  and  law  in  Edinburgh  at  that 
period,  as  well  as  those  of  many  noblemen,  ladies,  and  gentlemen  through- 
out Scotland.  These  portraits,  broad  and  effective  in  their  treatment,  real 
and  harmonious  in  colour,  masterly  in  execution  and  of  great  style,  are 
held  in  the  highest  repute.  In  1 8 1 2  he  became  an  Associate  of  the  Royal 
Academy,  and  in  181 5  was  elected  a  Royal  Academician.  In  1822,  when 
George  IV.  visited  Scotland,  Raeburn  was  knighted,  and  shortly  after- 
wards was  appointed  "  His  Majesty's  Limner "  in  that  part  of  Great 
Britain.  He  did  not,  however,  long  enjoy  these  marks  of  royal  favour,  for 
his  death  occurred  in  1823. 
72 


Sir  Joshua  Reynolds,  P.R.A. 


Joshua  Reynolds  was  born  at  Plympton,  in  Devonshire,  July  i6th,  1723  ; 
his  father,  the  Rev.  Samuel  Reynolds,  was  master  of  the  grammar  school 
of  Plympton.  Sir  Joshua  was  intended  originally  for  the  medical 
profession,  but  he  evinced  very  early  a  taste  for  art.  He  was  accordingly, 
in  1 741,  placed  with  Hudson,  an  excellent  portrait  painter  in  London  ;  he 
remained,  however,  with  Hudson  only  two  years,  and  then  set  up  as  a 
portrait  painter  at  Plymouth  Dock,  now  Devonport.  In  1746  he  took 
apartments  in  St.  Martin's  Lane,  and  commenced  practice  in  London.  In 
1749  he  accompanied  Commodore  (afterwards  Lord)  Keppel,  in  the 
"  Centurion,"  to  the  Mediterranean.  After  spending  about  three  years  in 
Italy,  he  returned  at  the  end  of  the  year  1752,  by  way  of  Paris,  to 
England.  He  settled  in  London,  and  soon  became  the  most  distinguished 
portrait  painter  in  the  capital.  In  1768  he  was  unanimously  elected 
president  of  the  then  newly-established  Royal  Academy  of  Arts  in  London, 
and  was  knighted  by  George  III.  on  the  occasion.  He  succeeded  Allan 
Ramsay  as  principal  painter  in  ordinary  to  the  King  in  1784.  He  died  at 
his  house  in  Leicester  Square,  February  23rd,  1792,  and  was  buried  with 
great  pomp  in  St.  Paul's  Cathedral.  He  exhibited  altogether  245  works  at 
the  Royal  Academy,  his  contributions  amounting  on  an  average  to  eleven 
annually.  He  delivered  fifteen  discourses  on  art  in  the  Royal  Academy. 
Several  complete  editions  of  his  literary  works  have  been  published.  His 
pictures  are  extremely  numerous  ;  the  prints  after  them  amount  to  about 
seven  hundred. 


George  Romney. 

George  Romney,  historical  and  portrait  painter,  was  born  at  Dalton,  in 
Lancashire,  December  the  15th,  1734.  His  father  was  a  cabinet  maker  of 
that  town,  and  brought  Romney  up  to  his  own  business  ;  but  the  son 
having  shown  a  decided  ability  for  drawing,  the  father  was  induced  to  place 
him,  at  the  age  of  nineteen,  with  a  portrait  painter  of  the  name  of  Steele, 
then  established  at  Kendal.  In  1756  Romney  married,  and  in  the  following 
year  commenced  painting  on  his  own  account.  His  first  production,  a  hand 
holding  a  letter,  for  the  post  office  window  at  Kendal,  remained  there  for 
many  years.    For  five  years  Romney  practised  at  Kendal,  and  ultimately 

73 


with  such  success  that  in  1762  he  ventured  to  try  his  fortunes  in  the  capital. 
In  London  he  rose  rapidly  to  fame  and  fortune,  and  in  1773  he  visited 
Italy.  He  returned  to  London  in  1775,  and  took  a  house  in  Cavendish 
Square.  From  this  time  he  divided  the  patronage  of  the  great  and  wealthy 
with  Reynolds  and  Gainsborough  ;  but  his  wife  and  family  were  never 
called  to  share  his  success  ;  they  remained  at  Kendal,  and  during  thirty- 
seven  years  he  paid  only  two  visits  to  the  north.  In  1782  Romney  became 
acquainted  with  Lady  Hamilton,  who  bewitched  him.  After  her  first 
appearance  on  his  horizon  he  seems  to  have  relied  almost  solely  on  her  for 
inspiration.  He  was  miserable  when  away  from  the  "  divine  lady,"  and 
reduced  the  numbers  of  his  sitters  in  order  to  devote  more  time  to 
endless  studies  of  her  beauties,  and  his  infatuation  lasted  for  years.  In 
Boydell's  "  Shakespeare  Gallery  "  Romney  warmly  co-operated,  and  two  of 
his  best  historical  efforts,  "  The  Infant  Shakespeare  "  and  "  The  Tempest," 
were  contributions  to  that  undertaking.  In  1799,  however,  he  broke  up 
his  establishment  at  Hampstead,  where  he  had  latterly  resided,  and  rejoined 
his  family  at  Kendal.  He  died  at  Kendal,  November  1 5th,  1 802,  and  was 
buried  at  his  birthplace,  Dalton. 


John  Russell,  R.A. 

John  Russell,  the  son  of  a  bookseller,  was  born  at  Guildford  in  April, 
1744.  He  gained  the  premium  of  the  Society  of  Arts  in  1759,  and 
became  a  student  in  the  St.  Martin's  Lane  Academy,  and  a  pupil  of  Francis 
Cotes,  R.A.  He  chiefly  practised  in  crayons,  but  painted  occasionally  in 
oil.  His  earlier  works  were  in  the  manner  of  his  master,  but  he  gradually 
developed  a  style  of  his  own,  and  produced  many  excellent  crayon  portraits. 
In  1768  he  first  exhibited  at  the  Spring  Gardens  Rooms.  Reinvented  a 
new  method  of  preparing  his  crayons,  which  he  described  in  his  "  Elements 
of  Painting  with  Crayons,"  published  in  1776.  He  was  elected  an  A. R.A. 
in  1772,  and  a  full  Academician  in  1788,  and  held  the  appointment  of 
portrait  painter  in  crayons  to  George  III.  and  the  Prince  of  Wales.  He 
was  fond  of  astronomy,  and  constructed  a  model  for  showing  the  appear- 
ance of  the  moon,  for  which  he  obtained  a  patent,  which  he  called  Seleno- 
graphia,  and  published  a  description  with  plates  engraved  by  himself.  He 
was  a  large  exhibitor  at  the  Royal  Academy,  sending  an  average  of  sixteen 
every  year  between  1789  and  1793.  He  visited  a  number  of  provincial 
towns  in  the  pursuit  of  his  profession,  and  died  of  typhus  fever,  at  Hull,  on 
April  20th,  1 806.  Many  of  his  portraits  have  been  engraved. 
74 


• 


Joseph  Wright,  A.R.A.,  of  Derby. 

Joseph  Wright,  son  of  a  town  clerk  of  Derby,  was  born  on  September 
3rd,  1734.  He  went  to  London  in  1751,  and  studied  first  under  Thomas 
Hudson,  and  afterwards  under  J.  H.  Mortimer,  A.R.A.  He  then  returned 
to  Derby,  and  soon  found  plenty  of  employment  as  a  portrait  painter.  He 
became  well  known  for  candle-light  and  fire-light  pictures,  two  of  which  he 
sent  in  1765  to  the  Exhibition  of  the  Incorporated  Society  of  Artists,  of 
which  body  he  was  a  member,  and  three  more  in  the  following  year,  one  of 
them  being  the  well-known  "Orrery."  In  1773  he  married,  and  visited 
Italy,  returning  to  England  in  1775.  While  at  Naples  he  saw  an  eruption 
of  Vesuvius,  and  studied  the  effect  of  the  flames,  and  also  the  varied  effects 
of  light  in  the  caves  at  Capri  and  the  grotto  at  Pausilippo,  effects  which 
often  recur  in  his  cottages  on  fire,  moonlights,  cavern  scenes,  and  sunsets, 
to  which  he  chiefly  devoted  his  attention,  and  by  which  he  gained  both 
reputation  and  patronage.  From  1778  he  was  in  the  habit  of  exhibiting 
subjects  of  this  class  at  the  Royal  Academy.  For  a  time  after  his  return 
from  Italy  he  settled  in  Bath,  but  was  back  in  Derby  in  1777.  He  was 
elected  an  A.R.A.  in  1781,  and  a  full  member  in  1784,  but  he  declined  the 
latter  honour,  owing,  it  is  said,  to  his  annoyance  at  the  election  of  Edmund 
Garvey,  the  landscape  painter,  in  the  previous  year.  It  is  more  probable, 
however,  that  as  his  health  was  far  from  good,  and  he  was  settled  far  from 
the  metropolis,  that  he  did  not  care  to  accept  the  responsibilities  and  duties 
of  the  position.  In  1785  he  exhibited  a  number  of  his  pictures  at  Spring 
Gardens,  but  also  continued  to  contribute  to  the  Academy.  One  of  his 
best-known  works,  "  An  Experiment  with  the  Air-Pump,"  is  in  the  National 
Gallery,  and  he  painted  a  number  of  very  striking  portraits,  three  of  which 
are  in  the  National  Portrait  Gallery.  A  number  of  his  pictures  have  been 
engraved.    He  died  at  Derby  on  August  29th,  1797. 


Johann  ZofFany,  R.A. 

Johann  Zauffelly,  generally  called  Zoffany,  was  born  at  Ratisbon,  or 
Frankfort,  in  1733.  His  father,  a  Bohemian  by  descent,  was  architect  to 
the  Prince  of  Thurn  and  Taxis.  He  was  first  instructed  by  Spcer,  but  is 
said  to  have  run  away  to  Rome  when  13,  in  order  to  carry  on  his  studies 
in  painting.  He  remained  there  twelve  years,  befriended  by  one  of  the 
cardinals  and  helped  by  his  father.    On  his  return  to  Germany  he  made  an 

15 


unhappy  marriage,  which  led  him  to  come  to  England  in  1758.  He  was 
at  first  reduced  to  great  distress,  and  painted  the  ornamental  faces  of  Dutch 
clocks,  and  then  was  employed  to  assist  Benjamin  Wilson,  the  portrait 
painter.  At  last  he  was  recommended  by  Lord  Bute  to  the  Royal  family, 
and  soon  after  became  famous  for  his  portraits  of  actors  in  character, 
admirable  for  their  truth  and  vivacity  of  expression.  In  1769  he  was 
admitted  to  the  newly-established  Royal  Academy,  and  painted  the  portraits 
of  many  of  the  members.  Later  he  went  to  Italy,  with  letters  of  introduc- 
tion from  George  III.  to  the  Grand  Duke  of  Tuscany.  Maria  Theresa 
sent  him  a  commission  to  paint  a  group  of  the  Royal  Family  of  Tuscany, 
which  led  to  his  going  to  Vienna  in  1778,  and  being  made  a  Baron  of  the 
Empire.  In  1783  he  went  to  India,  and  travelled  far  into  the  country,  and 
received  many  lucrative  commissions,  acquiring  a  complete  fortune  by  his 
brush.  Among  his  best  known  Indian  pictures  are  "  Colonel  Mordaunt's 
Cock  Fight"  and  "The  Tiger  Hunt."  On  his  return  to  England  in 
1790  his  mental  powers  and  general  health  were  weakened.  He  died  near 
Kew  in  18 10.  His  Indian  groups  and  some  of  his  Royal  portraits  were 
finely  reproduced  in  mezzotint  by  Earlom. 


76 


INDEX  No.  I. 


NAMES  OF  THE  CONTRIBUTORS  OF  PAINTINGS. 


H.M.  THE 

Agnew,  George  W.,  Esq.,  3. 
Agnew,  Lockett,  Esq.,  10,  14,  42,  63. 
Agnew,  Mrs.  C.  Morland,  7. 
Anderson,  General  David,  49. 

Barton,  C.  A.,  Esq.,  50,  57. 
Brownlow,  The  Earl,  P.C.,  39,  43,  44. 
Burton,  Lord,  8,  16,  31,  33. 

Christy,  H.  A.,  Esq.,  36. 
Crewe,  The  Earl  of,  1 2,  69. 

Earle,  Lionel,  Esq.,  65. 

George,  Charles,  Esq.,  25. 

Hirsch,  Leopold,  Esq.,  58,  60,  67. 
Holt,  Mrs.  George,  22,  40. 

Iveagh,  Lord,  K.P.,  46,  70. 

Jersey,  The  Earl  of,  G.C.B.,  i,  19,  20. 

Lever,  W.  H.,  Esq.,  29. 

Lister,  Lady,  48. 

Lloyd,  Thomas  O.,  Esq.,  53,  55. 

McKay,  William,  Esq.,  6. 


KING,  2,  61,  64. 

Manchester,  Corporation  of,  21,  28. 
Meyer,  Carl,  Esq.,  51. 
Morgan,  J.  Pierpont,  Esq.,  13,  15,  23. 
Musters,  Mrs.  Chaworth,  54,  56. 

Napier-Clavering,  The  Rev.  J.  W.,  4. 
Nottingham,  Corporation  of,  38,  66. 

Peck,  Mrs.  L.,  17. 

Rosebery,  The  Earl  of,  K.G.,  K.T.,  41,  59 

Smith,  The  Hon.  W.  F.  D.,  M.P.,  45,  47. 
Stern,  Edward  D.,  Esq.,  1 1. 
Sutherland,  The  Duke  of,  K.G.,  68. 

Taylor,  George  T.,  Esq.,  5. 
Taylor,  George  W.,  Esq.,  26,  27. 
Tennant,  Sir  Charles,  Bart.,  9,  32,  35,  37. 
Turner,  Miss,  30. 
Twcedie,  H.,  Esq.,  52. 

Victoria  and  Albert  Museum,  71. 

Wernher,  Julius,  Esq.,  34, 
Worcester,  The  Bishop  of,  24. 
Willoughby  de  Broke,  Lord,  18,  62. 


77 


INDEX    No.  II. 


NAMES  OF  THE  PAINTERS. 


The  figures  within  Brackets  indicate  the  Dates  respectively  of  the  Birth  and  Death  ot 
the  Painter. 

Barber,  Thomas,  of  Nottingham  (i 771-1 843),  66. 

Constable,  John,  R.A.  (i  776-1837),  55. 
Copley,  J.  S.,  R.A.  (1737-18 15),  5. 
Cotes,  Francis,  R.A.  (1726-1770),  42. 

Gainsborough,  Thomas,  R.A.  (i  727-1 788),  2,  17,  22,  24,  26,  27,  41,  64,  70. 
Hoppner,  John,  R.A.  (1758-18 10),  3,  11,  29,  32,  39,  48,  49,  57,  61,  68. 
Lawrence,  Sir  Thomas,  P.R.A.  (1769-1830),  23,  65,  71. 
Opie,  John,  R.A.  (1761-1807),  6. 

Raeburn,  Sir  Henry,  R.A.  (1756-1823),  25,  37,  40,  50,  58,  63,  67. 

Reynolds,  Sir  Joshua,  P.R.A.  (1723-1792),  i,  7,  8,  9,  12,  15,  28,  30,  34,  35,  36,  51,  52,  53, 
59,  60,  69. 

Romney,  George  (1734-1802),  4,  10,  13,  14,  16,  18,  19,  20,  21,  31,  33,  43,  44,  45,  46,  47. 
Russell,  John,  R.A.  (1744-1806),  54,  56. 

Wright,  Joseph,  A.R.A.,  of  Derby  (1734-1797),  38. 

ZofFany,  Johann,  R.A.  (1733-1810),  62. 


78 


INDEX  No.  III. 


ALPHABETICAL  LIST  OF  THE  PORTRAITS. 


Anstruther,  Lady,  28. 
Arkwright,  Sir  Richard,  38. 

Barnardiston,  Mhs  Mary,  36. 
Barrow,  John,  57. 
Bligh,  Thomas,  21. 
Boys,  Two,  67. 

Brownlow,  Lad}  ,  and  Child,  43. 
Brownlow,  Lord,  44. 
Burghersh,  John  Fane,  Lord,  31. 

Caroline,  Princess,  Wife  of  George  IV.,  71. 
Child,  Robert,  19. 
Child,  Mrs.  Robert,  20. 
"Collina,"  35. 

Crewe,  Master,  as  Henry  VIIL,  69. 

Crewe,  the  Misses,  i  2. 

Croker,  Miss  Rosamond,  23. 

Cumberland,  the  Duke  of,  2. 

Cunninghame-Graham,  Miss,  50. 

Cust,  the  Hon.  John  and  Hon.  Henry,  39. 

Dacre,  Hon.  Gertrude  Roper,  Baroness,  60. 
Ditcher,  Dr.  Philip,  17. 
Dover,  Lady,  53. 
Duff,  Mrs.,  58." 

Earle,  Mrs.,  65. 

Famil)-  Group,  unknown,  5. 
Fane,  John,  Lord  Burghersh,  31. 
Fane,  Thomas,  33. 

Fitzpatrick,  Lady  Gertrude,  "Collina,"  35. 
Folkestone,  Viscountess,  22. 
Fordyce,  Lady  Margaret,  41. 
Frankland,  Daughters  of  Sir  Thomas,  32. 
Franks,  Miss,  30. 

Gawler,  the  Masters,  8. 

George  IV.,  when  Prince  of  Wales,  70. 

GifFord,  William,  3. 

Girl  Sketching,  40. 

Glyn,  Mrs.,  13. 


Hamilton,  Lady,  as  St.  Cecilia,  46. 
Harrower,  James,  and  Wife  and  Son,  25. 
Hastings,  Warren,  49. 
Haydn,  Joseph,  61. 
Hoare,  Miss,  66. 
Hodgson,  Miss,  63. 

Hurd,  Richard,  Bishop  of  Worcester,  24. 

Johnson,  Dr.  Samuel,  59. 
Jordan,  Mrs.,  as  Hypolita,  1 1 . 

Lawrence,  Miss,  10. 
Lawrence,  William,  14. 
Leslie  Boy,  37. 
Lloyd,  James,  55. 

Musters,  John,  54. 
Musters,  Miss  Sophia,  56. 

Opie,  Amelia,  6. 

Palmer,  Mary,  Marchioness  of  Thomond,  51 
Payne-Gallwey,  Mrs.,  and  Child,  15. 
Pole,  Lady,  4. 
Price,  Lady  Caroline,  34. 

Ouin,  James,  64. 

Ramus,  Miss,  45. 

Ramus,  Miss  Bencdetta,  47. 

Ridge,  Miss,  9. 

Ru  land.  Duchess  of,  29. 

Schut?.,  Miss,  16. 

Seale,  Miss  Harriet,  48. 

Shannon,  the  Earl  of,  7. 

Somerv'ille,  Miss,  42. 

Stonehewer,  Richard,  i. 

Sutherland,  the  Duchess  Countess  of,  68. 

Taylor,  John,  26. 
Taylor,  Mrs.  John,  27. 

Thomond,  Mary  Palmer,  Marchioness  of,  5  t 

Willoughby  de  Broke,  Lady,  18. 
Willoughby  de  Broke,  Lord,  and  Family,  62. 
Worcester,  Richard  Hurd,  Bishop  of,  24. 

York,  Edward  Augustus,  Duke  of,  52. 


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